Status of monument -> National monument
Pursuant to Article V para. 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina and Article 39 para. 1 of the Rules of Procedure of the Commission to Preserve National Monuments, at a session held from 7 to 10 November 2006 the Commission adopted a
D E C I S I O N
I
The architectural ensemble of the Franciscan monastery and church of St. Anthony in Sarajevo, together with its movable property, is hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Monument).
The National Monument consists of St. Anthony's church, the monastery building, and movable heritage consisting of a collection of paintings (76), a collection of sculptures (11) and the archive material of the Central Archives of Bosnia Argentina.
The National Monument is located on a site designated as cadastral plot no. 1562, cadastral municipality Sarajevo IX, Municipality Stari Grad, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina.
The provisions relating to protection measures set forth by the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina (Official Gazette of the Federation of BiH nos. 2/02, 27/02 and 6/04) shall apply to the National Monument.
II
The Government of the Federation of Bosnia and Herzegovina (hereinafter: the Government of the Federation) shall be responsible for ensuring and providing the legal, scientific, technical, administrative and financial measures necessary to protect, conserve, and display the National Monument.
The Commission to Preserve National Monuments (hereinafter: the Commission) shall determine the technical requirements and secure the funds for preparing and setting up signboards with basic details of the monument and the Decision to proclaim the property a National Monument.
III
To ensure the on-going protection of the National Monument, the following protection measures are hereby stipulated.
Protection Zone I consists of the area of St. Anthony’s church as defined in Clause 1 para. 3 of this Decision. In this zone:
- all works are prohibited other than research and conservation and restoration works and works designed to display the monument, subject to the approval of the Federal Ministry responsible for regional planning (hereinafter: the relevant ministry) and under the expert supervision of the heritage protection authority of the Federation of Bosnia and Herzegovina (hereinafter: the heritage protection authority).
Protection Zone II consists of the area of the monastery building and the remainder of c.p. no. 1562 as defined in Clause 1 para. 3 of this Decision. In this zone:
- works that are not detrimental to the value as a monument of the National Monument shall be permitted subject to the approval of the relevant ministry and under the expert supervision of the heritage protection authority.
The Government of the Federation shall provide suitable physical and technical conditions for the safekeeping of the movable heritage, and above all:
- conditions enabling the stained glass windows in the church to be repaired.
IV
All executive and area development planning acts not in accordance with the provisions of this Decision are hereby revoked.
V
The removal of the movable heritage items referred to in Clause 1 of this Decision (hereinafter: the movable heritage) from Bosnia and Herzegovina is prohibited.
By way of exception to the provisions of paragraph 1 of this Clause, the temporary removal from Bosnia and Herzegovina of the movable heritage for the purposes of display or conservation shall be permitted if it is established that conservation works cannot be carried out in Bosnia and Herzegovina.
Permission for temporary removal under the conditions stipulated in the preceding paragraph shall be issued by the Commission, if it is determined beyond doubt that it will not jeopardize the movable heritage in any way.
In granting permission for the temporary removal of the movable heritage from Bosnia and Herzegovina, the Commission shall stipulate all the conditions under which the removal may take place, the date by which the items shall be returned to Bosnia and Herzegovina, and the responsibility of individual authorities and institutions for ensuring that these conditions are met, and shall notify the Government of the Federation of Bosnia and Herzegovina, the relevant security service, the customs authority of Bosnia and Herzegovina, and the general public accordingly.
VI
The Government of the Federation, the Federal Ministry responsible for regional planning, the heritage protection authority, and the Municipal Authorities in charge of urban planning and land registry affairs, shall be notified of this Decision in order to carry out the measures stipulated in Articles II to V of this Decision, and the Authorized Municipal Court shall be notified for the purposes of registration in the Land Register.
VII
The elucidation and accompanying documentation form an integral part of this Decision, which may be viewed by interested parties on the premises or by accessing the website of the Commission (http://www.aneks8komisija.com.ba)
VIII
Pursuant to Art. V para 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, decisions of the Commission are final.
IX
On the date of adoption of this Decision, the National Monument shall be deleted from the Provisional List of National Monuments of Bosnia and Herzegovina (Official Gazette of BiH no. 33/02, Official Gazette of Republika Srpska no. 79/02, Official Gazette of the Federation of BiH no. 59/02, and Official Gazette of Brčko District BiH no. 4/03), where it featured under serial no. 540.
X
This Decision shall enter into force on the date of its adoption and shall be published in the Official Gazette of BiH.
This Decision has been adopted by the following members of the Commission: Zeynep Ahunbay, Amra Hadžimuhamedović, Dubravko Lovrenović, Ljiljana Ševo and Tina Wik.
No.: 06.1-2-191/06-8
8 November 2006
Sarajevo
Chair of the Commission
Ljiljana Ševo
E l u c i d a t i o n
I – INTRODUCTION
Pursuant to Article 2, paragraph 1 of the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, a “National Monument” is an item of public property proclaimed by the Commission to Preserve National Monuments to be a National Monument pursuant to Articles V and VI of Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina and property entered on the Provisional List of National Monuments of Bosnia and Herzegovina (Official Gazette of BiH no. 33/02) until the Commission reaches a final decision on its status, as to which there is no time limit and regardless of whether a petition for the property in question has been submitted or not.
The Commission to Preserve National Monuments issued a decision to add the church and monastery of St. Anthony in Bistrik, Sarajevo, to the Provisional List of National Monuments of Bosnia and Herzegovina, numbered as 540.
Pursuant to the provisions of the law, the Commission proceeded to carry out the procedure for reaching a final decision to designate the Property as a National Monument, pursuant to Article V para. 4 of Annex 8 and Article 35 of the Rules of Procedure of the Commission to Preserve National Monuments.
II – PROCEDURE PRIOR TO DECISION
In the procedure preceding the adoption of a final decision to proclaim the property a national monument, the following documentation was inspected:
- Documentation on the location and current owner and user of the property
- Details of legal protection of the property to date
- Data on the current condition and use of the property, including a description and photographs,
- Details of war damage, data on restoration or other works on the property, etc.
- Details of the movable heritage forming part of the property,
- Historical, architectural and other documentary material on the property, as set out in the bibliography forming part of this Decision.
The findings based on the review of the above documentation and the condition of the site are as follows:
1. Details of the property
Location
The architectural ensemble of the Franciscan monastery and church of St. Anthony is in Sarajevo, in the part of the historic centre of Sarajevo's Old City known as Bistrik, on the left bank of the Miljacka. The architectural ensemble stands some 130 m south of the complex of the Emperor's mosque. The church and monastery are bounded to the north by Franjevačka (Franciscan) street(1), to the south by Hulusina street(2), and to the south-east by Hendina street(3).
The architectural ensemble occupies the area designated as cadastral plot no. 1562, cadastral municipality Sarajevo IX, Municipality Stari Grad, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina(4).
Historical information
Although the monastery of St. Anthony in Sarajevo was founded in the late 19th century, the Franciscan presence in Sarajevo goes back much further, and there is reference to the parish as early as the 16th century: ”In 1581 we come upon the first written references to the Catholic parish, and find out about the chaplain, the famous writer Fr. Matija Divković. That year Pope Gregory XII, had sent the current bishop, a native of Dubrovnik, Fr. Bonifacije Drakulić, to Sarajevo to visit the Catholics there and confirm them in their faith.(5)”
At first the parish came under the Visoko monastery, but when this was abandoned in the late 17th century(6), the parish in Sarajevo was taken over by the Franciscans of Kreševo.
In the mid 17th century, the Catholic community in Sarajevo, composed mainly of merchant colonists from Dubrovnik, was based in the Latin quarter: ”In 1652 Bishop fr. Marijan Maravić sent a report on the state of his bishopric to the Propaganda. The report states that Sarajevo had 200 Catholic households, though we do not know the number of souls(7), but three years later, in 1655, the number had fallen somewhat, though the number of souls was quite large, at 600.(8)”
During the invasion by Eugene of Savoy in 1697, the church dedicated to the Virgin Mary in the Latinluk quarter(9) was burned down, and most of the Catholics left Sarajevo, with only a small number remaining. From 1697 to 1743, religious services were held in the private houses of members of the congregation, and from 1743 to 1854 they were held in the parish house(10).
In the 18th century the number of Catholics in Sarajevo increased; by 1777, there were 624 of them. By 1813, however, the number had fallen to 557, rising again to 768 by 1877.
In the 19th century, the Franciscans served the Catholics of Sarajevo from the parish house, which was the property of the Kreševo monastery. Sarajevo’s Catholics would gather in the house for prayers and mass. In the chapel on the ground floor of the parish house in the Latin suburb in Donja Kamenica was a small altar with a painting of St. Anthony of Padua. The chapel had room for a congregation of about 100.
The efforts by the then parish priest, Fr. Luka Dropuljić, to initiate the building of a church were backed by an official of the Austrian consulate, Antun Vranyczany pl. Dobrinović (a native of Senj), who wanted to build a small church or chapel in Sarajevo at his own expense. Evidence of this is to be found in a letter(11) of his dated 13 June 1851 to the then head of the Bosnian Franciscans, Fr. Andrija Kujundžić. The idea also found favour with the Austrian consul in Sarajevo, Dr. Demetar Atanacković. However, the Austrian government itself(12) was of the view that the building of the church should be a matter for the ecclesiastical authorities. In addition, activities concerning the building of a small church were disrupted by the death on 20 October 1851 of the parish priest, Fr. Luka Dropuljić, and by a fire in May 1852, which destroyed large areas of central Sarajevo, including the parish house and its small chapel.
At a meeting held in 1852 in Kraljeva Sutjeska, the Franciscan leadership discussed the problem of the shortfall in monasteries and parish churches, and resolved: ”first, to that end, to build four new monasteries with churches alongside them; second, to repair and enlarge certain churches such as the ones in Sutjeska, Kreševo and Vareš; and third, forthwith to build new churches in Sarajevo and certain other places where there are currently none.(13)”
The new parish priest, Fr. Grgo Martić, continued the work his predecessor had already begun, and with the help of the Austrian envoy in Istanbul, Baron Leimengen, he managed in April 1853 to obtain a firman granting permission to build a church in Sarajevo.
The foundations of the new church, dedicated to St. Anthony of Padua, were laid in July 1853 in Koturova street (Simo Milutinović street). Antun Vranyczany-Dobrinović donated 1,000 florins towards the costs of building the church. The Kreševo monastery began to build a parish house next to the church, and allocated 200 ducats for that purchase, while the French government, acting through its consul, Wied, allocated 8,000 francs towards new buildings, of which 800 francs were intended for the building of the Sarajevo church. Between the start of building works in July 1853 to 1 May 1854, a total of 10,577 groschen and 20 para was spent on the works on the church, with total costs for the church and parish house reaching 24,103 groschen. In 1854 the church roof was laid, and in 1856 the church was completed and opened. That same year, for the first time, the two iron plates in the bell tower were rung. At the same time as the church was being built in Sarajevo, the barracks were also built there; the works supervisor was Stojan Vazenković of Bitolje, who at Fr. Grgo Martić’s request helped with and supervised the work of building the vault of the church. In 1864, the Empress Eugénie (wife of Napoleon III) donated several items to the church, of a total value of more than 10,000 francs: a chalice, paraments, crosses, a baldaquin, censers, candlesticks, and the altar of Our Lady, with a reproduction of Murillo’s painting of the Assumption, valued at 1,000 francs. In 1869 the roof of the church was replaced, and the walls were raised in height by 1 ½ arshins. The total expenditure for these works was 6,616 groschen, raised by cash donations: the Emperor Franz Joseph I donated 300 florins and the Italian government 200 francs, and Stjepan Dujmović left 1,000 groschen to the church in his will. A year later, A. Vranyczany-Dobrinović donated a gilded cross to the church.
There were not sufficient funds to fit out the interior of the church. There is information to the effect that Fr. Grga Martić approached the Sarajevo Orthodox ”mercantile furriers’ association” for help, and received 2,205 groschen for the church from them. Later, some Orthodox Christian inhabitants of Sarajevo donated doors, windows and other necessities for the church. There were also others who made donations (including the Emperor Franz Joseph I, who donated a monstrance, two large silver candlesticks, several paraments and other items). Pepo Kezić and Vaso Hadži Ristić fitted out Our Lady’s altar: the former purchased a statue and ”Way of the Cross”, and the latter two candlesticks. The St. Severin Society of Vienna donated a missal to the church. In 1854 the new church and parish house were completed on a site where the house of the Fojnica and Sutjeska monasteries had formerly stood. The church received various gifts: there is reference to a craftsman specializing in making coffee grinders, Petar Andrić, who donated his shop in Bravadžiluk to the church in 1865 (80). A bell was even purchased (one in 1871, and another in 1881), which was inconceivable in those days(14).
In August 1878 the church, parish house and school(15) were burned down in a great fire that swept through Sarajevo(16).
After the fire the parish priest and two aides moved to Mjedenica(17), where they lived in Marko Poljanić’s house, and then to Terezija street. Mass was held in the garden. The Provincial Government made a vacant mekteb in Konak street available to the friars, which they converted into a chapel, turning the small house next door into a sacristy. The chapel was linked to the sacristy by a temporary wooden tower, on which a bell was mounted. The Provincial Government provided the sum of 60 florins for the works on the tower(18).
After 1881, erar(19) land close to the vizier’s Konak (residence) was obtained, where there had been a printing house during the Ottoman period. The foundations were laid and blessed on 17 August 1881(20). The formal blessing was performed by the Roman Catholic Bishop Pashal Vujičić and attended by Franjo pl. Stransky of Dresdenberg (in the capacity of representative of the governor of Bosnia and Herzegovina, Baron Herman de Dahlen Orlanburg), foreign consuls, the Sarajevo City Council and all its officials. In the autumn of 1881, a church with half-timbered walls (timber frame and unbaked brick infill) was built on the stone foundations “in the shape of a rectangular, with no nave, resembling the watchtowers on the military barracks that were erected as temporary structures. It was 18 m long and 9 m wiude. To the east, a semicircular sacristy was built on, designed only for essentials. There was a small wooden turret over the main door, in which the two aforementioned bells were housed. The organ, which formerly graced St Mark’s church in Zagreb, was in the choir, which was supported by wooden pillars.(21)”
In 1881 the episcopal hierarchy of the Catholic Church was established in Bosnia and Herzegovina. St. Anthony’s church was consecrated on 2 January 1882, and a few days later,. on 15 January, Archbishop Josip Stadler was formally enthroned in the church(22).
In 1882 the Franciscans were compelled to hand over the parish to the Archbishop, and withdrew from Sarajevo; St. Anthony’s church was handed over to the Sarajevo parish priest and was used as a cathedral until 1889, when the new cathedral church was built to a design by Josip Vancaš.
On 19 June 1886, after spending several years in other Franciscan monasteries, the leadership of the Franciscan province of Bosnia Argentina (the head of the order, the secretary and a councillor-definitor) moved back to Sarajevo, where they were based in rented premises in Terezija street for a number of years. Meanwhile, preparations were made to build a monastery(23).
In 1893 the foundations were laid, and building works began on the monastery in Hendina street, to a design by Carlo Panek(24). The works manager was the builder Ivan Holz. The Franciscans took out a loan of 20,000 florins to build the monastery, against a mortgage taken out by the Province on the land holdings of all the monasteries, valued at 39,752 florins. They received permission from the relevant authorities to collect contributions in the Dual Monarchy, since the estimated costs of the monastery were 52,000 florins. Apart from the later addition of a second storey, the monastery was completed on 31 August 1894, when the Franciscans moved in. The Archbishop of Vrhbosna performed a formal blessing of the monastery on 16 September 1894.
At the assembly of the leadership of the Franciscan order, held on 10 August 1909 in Guča Gora, it was resolved that Franciscan divinity students should study in Sarajevo. On 6 September 1909, 24 divinity students came to the Franciscan theological college in Bistrik(25). In 1909 the united Franciscan theological college was moved from Livno to the monastery of St. Anthony in Sarajevo, where it continued, with a brief interruption (1942-1947), until 1968, when it moved into the new building in Neđarići where it is still based(26).
In 1889 St. Anthony’s church was restored to the Franciscans. It was in poor structure condition. ”The church cannot last long in this condition. The already poor quality materials have been repaired, or rather the old fabric has been patched up, on several occasions, but there is now the threat of imminent collapse. The walls are cracking, the roof is rotten.(27)”
In 1986 Bishop Josip Juraj Strossmayer of Đakovo launched the idea of building a new church of St. Anthony (and made a contribution to the building costs of 2,000 crowns)(28).
The Franciscans had no choice but to turn to the Provincial Government for help with repairs or building a new church. The physical condition of the building was deteriorating, and the risk of collapse was ever greater, so much so that in 1906 the Austrian authorities issued an order to close the church until essential repairs could be carried out(29).
Meanwhile, preparations were already in hand to build a much larger and more representative church, which continued for some fifteen years.
On 25 May 1903 a ”Pious Society for the Construction of a new Church of St. Anthony of Padua in Sarajevo”(30) was set up on the initiative of Fr. Ignacije Strukić, editor of the Franjevački Glasnik (Franciscan Herald) and founder of the ”St. Anthony’s Bread” fraternity. The High Provincial Government backed the work of the Society, and the deputy civil lieutenant, Baron Hugh Kutschera, joined the Society as a founder member, donating the sum of 500 crowns. By 1905, the Society numbered 4412 members, and had raised 20,000 crowns(31).
At a session of the leadership of the order held in early 1911, it was resolved to build a new church on the site of the old one, in Bistrik, and to commission the architect Josip pl. Vancaš to design the future church(32).
On 3 July 1911, Vancaš’ design was adopted at a session of the Society’s board, and was submitted to the Provincial Government in order to obtain a building permit.
In the autumn of 1911, various preparatory activities were carried out: on 27 September 1911 a contract was signed(33) with the Sarajevo businessman E. Kabilj to carry out the necessary site works, level the ground, and build retaining walls. These works began on 29 September 1911.
Major problems of landslides arose during the site works, the area affected constantly increasing (the landslip went almost as far as Hulusina street south of the monastery plot), compelling the Franciscans to replace the contractor and hire a professional civil engineer, Franjo Holz(34), to make good the landslip(35).
The last service in the old church was held on 15 March 1912. The demolition of the old church was carried out from 16 to 19 March 1912(36).
Site works to prepare for laying the foundations of the new church began on 26 March 1912. The original intention was to use bricks for the masonry work, but since the price of bricks had risen, it was decided to use stone instead(37). The laying of the foundation stone(38) and a ceremony of blessing performed on St. Anthony’s day(39) by suffragan bishop Dr. Ivan Šarić, in the presence of the Franciscan friars and many local people, along with the Finance Minister, Count Belinski, and the Provincial Governor and General Oskar Potiorek. The masonry work on the church was completed in late September 1912, but the church belltower was completed only(40) in mid July 1913(41). The church was consecrated and handed over for use on 20 September 1914(42).
In late 1912, the Franciscan leadership decided that because of the rising number of divinity students the east, north and west sides of the monastery building should be built on to bring them to the same level as the south side of the monastery(43). The extension works lasted several months, even though concrete was used instead of brick to speed up the works. At the same time as these extension works on the monastery were being carried out, the church was clad with asbestos cement, the interior was cleaned, and preparatory works were carried out before tiling the floor of the church(44).
The following year, 1913, there were no funds to continue the works, so the manager of the building works committee, Fr. Alfonzo Kudrić, appealed for financial support to the Emperor Franz Joseph I, from whom the board received 30,000 crowns in January 1914 to build the high altar of the church(45), and to His Holiness Pope Pius X, who donated 2,000 lira.
The work of building concrete retaining walls on the south side of the monastery site and of installing a drainage system was carried out by the firm of Dirnnböck.
The firm of Herold from Komotau in Bohemia supplied the church with four bells: the largest, St. Anthony, weighs 3,500 kg, Our Lady’s bell weighs 2,500 kg, St. Joseph weighs 1,500 kg, and the Bambino weighs 444 kg. The bells chime in harmony: A, C sharp, E, A.
In the autumn of 1913 the firm of Ferdinand Stuffleβer supplied four new altars for the church, and on 20 September 1914 the church was consecrated.
The new St. Anthony’s church was built to the east of the monastery, with which it is linked by a corridor (walkway). This was originally(46) planned to join the church tower and the monastery building, along the northern building line of the church, but on the initiative of Fr. Alfonzo Kudrić, manager of the church building committee, and pursuant to the solution provided by the Blueprint for the corridor between the monastery and church(47) drawn up in 1913, the walkway was shifted to the central axis of the church(48).
In 1915 the Provincialate of the Bosnian Franciscans in Sarajevo approached the High Provincial Government for Bosnia and Herzegovina in Sarajevo with an appeal(49) for the financial assistance required to complete the building works on the retaining walls on the south side of the monastery plot:
“In this extremity, we come with this appeal for help of any kind.
“The High Provincial Government is aware that last year we began major retaining works on the hill above the church. At this time of war and moratorium, no one is building, not one is undertaking anything, but we were compelled to begin, since according to expert inspection – see the enclosed – we were faced with inevitable disaster: we would have been left with no church and no home, and the hill would have collapsed.
“This plot of land, on which our monastery and theological seminary with church stand, was donated to us by the High Provincial Government on 8 April…, no. 1..47/1, with restrictions on sale or any transfer to other persons.
“Our financial circumstances at the start of this work were miserable, particularly since we built a new church two years ago. Last year we approached the High Provincial Government for aid, and received an interest-free loan of 25,000 crowns on 25 September 1914, no. 11881/…, ….. we had applied for 30,000, knowing that we would not be able to complete the work with that sum. We have received no other support of any kind.
“We began this difficult work of underpinning the hill with the firm of Hans Dimmböek on 28 September 1914, and by 25 April 1915 the total expenditure amounted to 59,457 crowns and 75 h.
“Financially drained and excessively in debt, lacking funds we had to abandon all the work. . . which is nearing completion. On the other hand, it must be completed, since it is disastrous. But how and with what is it to be completed?
“The High Provincial Government formerly donated this site to us, and made us a loan of the above sum to make good the site. Now, therefore, in extreme necessity and misfortune, we warmly appeal to the High Provincial Government kindly to allocate to us the sum of 15,000 crowns, with which we could complete the works we have begun.
“In the firm hope that we shall not be abandoned in this our hour of need, we remain ever your most local servants:
“for the Provincialate of the Bosnian Franciscans:
“Fr. Velimir Martinčević (secretary).”
In 1915, the Governorship of the City of Sarajevo issued a permit to the Franciscan monastery in Sarajevo to build an exterior entrance stairway: ”Re. your appeal of 6 May this year, we grant permission for an exterior entrance stairway to be built outside your monastery building and church in Konak street in accordance with the proposed and corrected blueprint, on condition that the first step on the pavement may not be further away from your retaining wall than as indicated in red on the blueprint, i.e. 74 cm, and that an area of 1.24 m must remain between the first step and the outer edge of the pavement. You are to report to this office the date on which work begins on installing the steps. (50)”
After renovations to the monastery building in 1983-85, the noviciate and the editorial department of the publication Svjetlo riječi were housed in the monastery until the outbreak of war in 1992.
During the 1992-1995 war the monastery and church of St. Anthony were also damaged.
On St. Anthony’s day, 13 June 1992, many of the window panes in the church and monastery were shattered by detonations caused by the explosion of three 82mm rocket-launcher shells, and three stained glass windows were also damaged(51). On 19 June 1992, detonations and shell shrapnel damaged two stained glass windows by Ivo Dulčić in the church presbytery: Crucifixion and Resurrection. At midnight that same night, a shell hit the south wall of the monastery building, causing all the window panes on the south facade of the monastery to shatter. On 22 June 1992 a shell hit and damaged the roof of the monastery(52).
2. Description of the property
The buildings constituting the architectural ensemble are the monastery building, measuring 27.30 x 23 metres, and the church (with one tower), measuring 19.90 x 33.50 m, joined by a covered corridor or walkway.
To the south of the complex are retaining walls forming the boundary of the monastery complex and creating five levels or terraces on the site.
The main pedestrian access to the complex is from Franjevačka street from a level of –3,10 m(53), via a single flight of steps set laterally east-west on the north side of the complex, leading onto a paved plateau at a level of–0,15 m, measuring approx. 6 x 24 m, which opens onto the monastery and church.
The complex has two street accesses: from the east, from Hendina street, leading to the underground garages beneath the first terrace, and to the monastery by a passageway south of the church; and via the street entrance to the west of the complex, which emerges onto Bistrik street, providing access to the parking area on the two southernmost terracesof the complex.
To the north, the monastery complex is bounded by a stone retaining wall of cyclops bond on the crown of which is a concrete barrier with a height of approx. 110 cm in the form of rectangular-section balustrade uprights. One stone of the cyclops wall, to the left of the approach to the steps, is carved with the year 1915(54). Because of the lie of the land, the south and south-east boundary walls of the monastery complex are stepped; they are of cut stone, and the joints are pointed with cement mortar.
The monastery building has a basement storey, raised ground floor, two upper floors and an attic storey.
The monastery building has undergone a number of alterations from its original design.
Even before the building was erected in 1894, certain changes to the original 1893 design by Carlo Panek had been made. This design provided for a building with a footprint of approx. 25 x 25 m, with two light well measuring 2 x 3.05 x 6.80 m, and a vertical sanitary block at the centre of the building. Carlo Panek's new design of 11 August 1893, imbued with the spirit of the neo-Gothic, which was used to for the 1894 building, provided for a building with a footprint of 27.30 x 23 m, with an inner atrium measuring 6 x 11.15 m. Structurally, it consists of a system of massive construction with longitudinal load-bearing walls (approx. 5 m apart in the east and west wings, 5.15 in the north wing and 5.40 m in the south wing). The perimeter wings contain rooms, a library, offices and conference rooms, staircases and toilet blocks, within which is a 1.50 m wide corridor surrounding the atrium. The kitchen and associated facilities are in the basement. This design gave the monastery building a second storey only above the south wing.
The ceiling joists consist of standard wooden beams. The storeys are of the following heights, structurally: basement approx. 3.50 m, raised ground floor approx. 4.00 m, and the first and second floors approx. 3.80 m.
The building has two projections each approx. 5.90 m wide on the north facade, executed with elongated stepped tympanums (each with five steps measuring approx. 69 cm wide x 1.35 m high, with a coping clad with plain tiles and topped by crosses.
The east and west fronts of the building each have a projection approx. 6.60 m wide. The corners of all the projections are accentuated by bossage(55).
The roofs were steep-pitched panes, according to the blueprints of the lateral section through the monastery building: the roof frame above the south monastery wing had a pitch of approx.68 degrees, and above the other three wings a pitch of approx. 55 degrees. The roof was timber-framed: above the south wing, it consisted of queen post trusses with two pairs of ties, with sloping studs above the other three wings. The roof was clad with plain tiles.
In late 1912 a second storey was added to the entire building, thus altering its proportions and appearance. Instead of stepped tympanum-topped projections on the north facade, tympanums of similar geometric shape to those on the church tower were executed.
The exterior facades of the monastery are articulated by two moulded string courses level with the base of the ground floor windows and with the roof cornice, with corbels along their entire length.
The vertical articulation of the wall faces is achieved by shallow projections the ends of which are accentuated by rustication (bossage).
The windows of the basement are rectangular (measuring approx. 85 x 120 cm), those of the ground floor have slightly pointed arches (measuring approx. 130 x 250 cm) and those of the first and second floors are arched (measuring approx. 117 x 220 cm). The arches of the ground, first and second floor windows are accentuated by being painted white, as are all the string courses and cornices and the corner bossage of the projections.
The monastery building was thoroughly renovated in 1983-85. In 1984 a new hall was built in the cloister at basement level to a design by Zaga Dobrović. The hall was provided with top lighting and is used as a exhibition space. A single-storey annex with a flat roof was built onto the north side of the monastery complex at basement level, right beside the steps leading to the monastery complex; this now houses a souvenir shop.
From 1994 to 1996, a hall with a chapel under a glass roof on a timber roof frame (of a combination of sloped studs and ties) was built above the basement exhibition hall in the remaining atrium area at first and second storey level of the monastery. Since 2000, work has begun on converting the attic area into a penthouse storey (the timber roof frame has been replaced by reinforced concrete, and with asbestos cement as roof cladding), but a lack of funds has led to the work being suspended.
Church
The church was built in 1912-1913, to designs (1911-1913(56)) by architect Josip pl. Vancaš(57) (1859 - 1932). St. Anthony's church was built just before the outbreak of World War I, and was Vancaš' last religious building to be erected in Sarajevo.
The church stands about 6 metres to the east of the monastery building, with its west, entrance end facing the monastery.
Josip Vancaš designed two alternative ground-plans/layouts for the church: the first with the entrance at the east end and the apse at the west end, beside which the covered walkway between the monastery and church was through the church oratory on the south side; and the second with the entrance at the west end and the apse at the east end, where the covered walkway between the monastery and church was via a corridor to the north, linking the church tower with the monastery. It was this latter version that was adopted.
However, on the initiative of Fr. Alfonzo Kudrić, manager of the church building committee, and pursuant to the design on the 1913 Blueprint for the corridor between the monastery and church, signed by Fransiz Holz and Josip Vancaš, the walkway was shifted to the central axis of the church, above the entrance doors to the church and monastery.
The walkway, which is approx. 4.22 m wide and approx. 6 m long, is level with the raised ground floor of the monastery building and joins it with the choir gallery of the church. The walkway is approx. 2.61 m in height, with walls approx. 45 cm thick, and is supported by four columns with a diameter of 40 cm and a height of apparox. 3.29 m, set on stone bases measuring 62 x 62 with a height of 80 cm. The columns are approx. 3.20 m apart (east/west and north/south), providing unimpeded pedestrian movement at ground floor level on the entrance plateau outside the church and monastery.
The walkway has a pent roof pitched to the south. The north wall of the walkway terminates in a tympanum within which is a shallow niche(58) measuring 3.36 wide x 2.68 m high, terminating in a pointed arch. Within this niche are three pointed-arch windows (two measuring 74 cm wide x 75 cm high, and one 75 cm wide x 180 cm high).
The longitudinal axis of the church lies east-west, with a deviation to the north of approx. 8 degrees(59). The church is of triple-naved neo-Gothic basilica type.
Double entrance doors made of oak (outer masonry measurements 2 m wide x 3.20 m high) at ground floor level at the west end of the church lead through a windbreak area(60) measuring 1.25 m deep x 4.40 m wide x 3.54 m high) into a vestibule (5.10 x 11 m) and thence into the central nave, measuring 11 m wide x 17 m long, divided into three bays with a footprint of 4.60 x 11 m.
At ground floor level of the church, north of the vestibule, is the ground floor of the bell tower (3.80 x 3.80 m), with the baptistery on the opposite side (3.10 x 2.25 m). Above the vestibule is the choir gallery (with the gallery floor at a level of +4.65 m), measuring 4.80 x 11 m, containing the organ.
To the left and right of the central nave are aisles approx. 2.95 m wide, separated at the ends of the bays by walls approx. 75 cm thick running north-south, so forming chapels with a footprint of 2.95 x 4.60 m in the left and right hand aisles, containing side altars and confessionals.
The central passageway between the wooden pews in the central nave, at a level of +/-0.00 m, leads via six steps to the polygonal apsidal sanctuary (7.60 m wide x 8.75 m deep) at a level of +0.90 m. To the side of the sanctuary is the entrance to the sacristy, above which are oratories (both sanctuary and oratories are polygonal in ground plan).
The church was designed to hold 1,000 people, with an interior length of 31.35 m and a total interior width of nave and side aisles of 18.40 m.
The ceiling of the church is a reinforced concrete shell structure(61), with the underside(62) in the form of cross-ribbed vaults. The height of the vaults on the inside, measured from floor to topmost point of the vaults, is approx. 14.64 m in the central nave, approx. 11.65 cm in the apse sanctuary, and approx. 7.70 m in the side aisles.
Light enters the church through double pointed-arched windows with inner masonry measurements of approx. 1.17 x 3.40 m in the walls of the aisles; triple pointed-arched windows in the clerestoreys of the central nave (inner masonry measuresments of the two side openings approx. 1.00 x 2.96 m and of the central opening approx. 1.00 x 3.92 m); four pointed-arched windows in the east walls of the apse (inner masonry measurements approx. 1.35 x 5.60 m); and five pointed-arched windows in the west wall of the church above the choir gallery (inner masonry measurements approx. 1.23 x 4.05 m).
The outer stone walls of the church approx. 75 cm thick, except for the walls of the sanctuary at the east end which are approx. 90 cm thick, and the walls of the sacristy and oratories at the east end, which are approx. 30 cm thick.
The roof structure is timber. Above the central nave of the church it consists of a system of roof frames of high queen post trusses each with two pairs of ties (level with the upper purlins and with the ends of the queen posts respectively). The roof frames are set approx. 4 m apart. The roof is clad with asbestos cement tiles.
The bell tower, with an overall height of 43 m, is stone-built, and square in ground plan, with outer measurements of 6.20 x 6.20 m at ground level, and 5.50 x 5.50 m above gallery storey level. The walls of the tower are approx. 135 cm thick at ground level, about 120 cm thick on the upper storeys up to the outer gallery, and approx. 60 cm thick above the gallery. The bell tower has four platforms, the first level with the choir gallery of the church, the second leading into the attic area of the church, the third approx. 2.80 m lower than the final balcony/gallery of the bell tower. The first platform has a reinforced concrete ceiling, and the other three have wooden ceilings, as has the staircase linking the platforms. The bells hang from a structure of steel NP I girders, the timber roof structure is polygonal, and the cladding and all the flashings of the roof of the bell tower is sheet copper.
The foundations of the bell tower (the square base of the foundations measuring approx. 8.30 x 8.30 m) are at a depth of approx. –7.00 m in relation to the floor level of the church.
At the top of the roof of the church is a cross, approx. 2.56 m in height, on a plinth 2.71 m in height. The plinth and the cross itself are of wrought iron, and were made to a workshop design by Josip Vancaš(63). The roof of the church bell tower is a four-paned pyramid, approx 14 m high, with the sides approx. 5.50 m wide at the base, with tympanum ends to the wall faces of the tower (the tympanums are approx. 3.50 m in height), typical of the designs of church towers by Vancaš in Bosnia and Herzegovina.
The balcony gallery of the bell tower, with its forms of floral Gothic, stands out in particular with its wealth of decorative mouldings. The horizontal structure of the balcony landing, which is of reinforced concrete, projects outwards from the topmost storey of the bell tower by about 87 cm. The stone balcony parapet is approx. 115 cm high, and approx. 68 cm thick in the middle. The central sections of the sides of the balcony parapet are perforated with a row of twelve cruciform rosettes set 54 cm apart. The base of the balcony parapet has an outward fall, and water runs away through five perforated openings at the base of each side of the parapet. The length of the overhang of the balcony parapet, measured from below (in relation to the face of the tower walls below the gallery) is approx. 52 cm, while the overhang of the balcony itself is decorated with a row of ten moulded corbels, 16 cm wide and approx. 64 cmhigh, set approx. 43 cm apart, on each side of the bell tower, and four diagonal corner corbels. The corbels rest on a simply moulded string course approx. 10 cm in height, below which, set approx. 27 cm apart(64), is an arcade of blind niches (eleven on each side of the bell tower). The niches terminate in slightly pointed arches, and are approx. 31-32 cm wide, approx. 22 cm high, and approx. 8 cm wide, and rest on corbels approx. 11.5 cm wide x 26 cm high, making the overall height of the niche plus the corbel approx. 48 cm.
Vertically, the bell tower is articulated into five storeys or sections by means of moulded string courses and the balcony parapet: a ground floor with entrance door to the tower on the north side (the portal, measuring approx. 2 m wide x 6.10 m in overall height, is accentuated by a slightly pointed arch); a storey level with the gallery of the church, with one window in the north and one in the west facade, each with slightly pointed arches; a storey beginning level with the roof cornice of the church and ending in the row of blind arcades just below the corbels of the balcony parapet of the bell tower, with a double window in the west, north and east walls (outer masonry measurements 2 x 1 x 5.80 m) above which is a round clock with a diameter of approx. 1.40 m; the storey above the balcony of the bell tower, with triple window openings (two with outer masonry measurements of approx. 2 x 1 x 3.70 m and one measuring 1 x 5.10 m), and tympanum wall endings accentuated by a dentate cornice, above which is the fifth and final level, the copper-clad roof and cross.
The colour palette of the wall faces of the bell tower, the church itself, and the monastery, painted in the colours of the Franciscan habit, with the decorative mouldings of the facades, the string courses and cornices and the window reveals painted white, further enhances the sculpturality of the buildings. One cannot avoid the impression that the architect's choice of colours is associative, evoked by the colours of the Franciscan habit, resulting from his explicit, carefully thought out intentions.
The exterior facades of the church are articulated by moulded string courses level with the base of the windows in the aisles, the base of the sanctuary windows, the roof cornices of the aisles of the church, and the final roof cornice above the central nave. The vertical articulation of the wall faces of the side aisles is achieved by shallow, rusticated pilasters, between which are dentate string courses at the top of the walls of the side aisles, and by the buttresses of the clerestorey of the central nave, between which are rows of blind arcades.
Radical changes were made to the interior of the church in the two decades beginning in 1962: the interior was faced with marble, the altar was replaced by a marblemensa, and modern sculptures and paintings completely replaced the original decoration.
The refurbishment of the interior was carried out by eng. Janko Omahen(65), and later the church was refurbished to an idea by the painter Mirko Ćurić and the sculptors Zdenko Grgić and Frane Kršinić, along with Ivo Dulčić, seventeen of whose stained glass windows were installed in the church(66).
Interventions carried out in the 1970s and 1980s had no effect on the outward appearance of the church, which remained unchanged(67).
Movable heritage
The earliest information pertaining to the interior furnishings of the church are associated with the Empress Eugénie, wife of Napoleon III, who donated several items to the church in 1864: a chalice, paraments, crosses, a baldaquin, censers, candlesticks, and the altar of Our Lady, with a reproduction of Murillo’s painting of the Assumption. A year later, A. Vranyczany-Dobrinović donated a gilded cross to the church. In 1898 a sculpture of St Anthony, made in the Mayer arts and crafts workshop in Munich, was brought to the church.
Further information on the interior furnishings of the church dates from late 1913, when four altars made in the Tyrol workshop of Ferdinand Stuffleser were installed in the church. The pulpit, too, was made in this workshop. The artist Ferdinand Bender painted the church sanctuary, and the high altar, a gift from Emperor Franz Joseph I, was made by the Vienna firm of Rudolf Leudg (Jung and Russ(68)).
At that time the altar windows were decorated with the following scenes: the Heart of Jesus (a gift from the Croatian Central Bank), the Sacred Heart of Mary, St. Joseph, and St. John the Baptist.
The windows in the main nave of the church were also painted.
The windows on the north side were painted with the following scenes: St. Pascal Baylon and St. Clare, St. George and St. Catherine, the figure of an unidentified Franciscan nun, the figure of the Bosnian queen (a gift from the family of Colonel Krelogović), the figure of St. Florian, and St. Rose of Viterbo.
The windows on the south side were painted with the following scenes: St. Margaret of Cortona (a gift from the Holz family, who built the church), the blessed Šimun Filipović of Seona in Bosnia, the figures of St. Mary Magdalene and St. Rocco, St. Barbara and St. Peter of Alcantara. All the figures of saints on the windows were by the Austrian firm of Rudolf Leudg. (Blažević, 1917, 76).
At this time, too, the sculptor Stuflesser made the side altars of the Sacred Heart of Jesus (a gift from Bishop Garić), the altar of St. Francis, the Immaculate Conception (a gift from Bishop Mišić), and that of St. Benedict.
The confessional was the work of Ernest Bernik in Sarajevo to a design by the principal of the seminary, Fr. Alfonzo Kudrić. (Blažević, 1917, 77).
The walls of the church were adorned with medallions containing the figures of the following saints: St. François de Sales, St. John of Capistrano, St. Birgitta, St. Agnes, St. Jeanne de Valois St. Francis Solano, St. Carlo Borromeo, St. Frances of Rome, St. Vincent de Paul, the blessed Jean Vianney, St. Jacinta Mariscott and Bernadine of Siena (Blažević, 1917, 78).
The wall above the painted windows in the altar area was painted with the Franciscan coat of arms, below which was an inscription reading The Lord my God is my all. (Blažević, 1917, 78).
The church acquired an organ in 1925 from the firm of Rieger. This organ is still in use.
In 1962 the Franciscans began the artistic refurbishment of St. Anthony’s church. The guiding principle at that time was to introduce valuable works of art into the church. The refurbishment lasted some twenty years (Karamatić, 1991, 35).
The refurbishment of the interior was entrusted to eng. Janko Omahen. The walls were faced with marble slabs to his design. It was then that Mirko Čurić painted the altar painting of Maria Goretti (Vilić, Karamatić, 1976, 123).
By the early 1970s, several works by prominent artists had come to the church. The stained glass windows were made to designs by Ivo Dulčić on the subject of the Creation(69) (1969 to 1970), and the Redemption(70), and constitute the artistic mainstay of the church(71). Dulčić was also responsible for the mural of St. John Chrysostom. At some earliet date a sculpture of the Madonna and Child, the work of Frano Kršinić, was installed in the church (Karamatić, 35).
Later, a new composition was installed in the church featuring Maria Goretti, the work of the painter Ivan Lovrenčić and the sculptor Želimir Janeš. ”The work reveals the simplicity and ease of Lovrenčić's ‘childish’ sketches and Janeš’ unobtrusive incrustations of mother-of-pearl, silver and reddish wooden beads.” (Vilić, Karamatić, 1976, 136).
The church now contains the following works of art:
1. WAY OF THE CROSS
Artist: Zdenko Grgić (1927)
Date: 1970s
Size:240x286 cm
Material: wood
Technique: relief
Description: Scenes from the first, second and third Stations of the Cross are combined in a single composition in high relief.
2. WAY OF THE CROSS
Artist: Zdenko Grgić
Date: 1970s
Size: 245x284 cm
Material: wood
Technique: relief
Description: Scenes from the fourth, fifth and sixth Stations of the Cross are combined in a single composition in high relief.
3. WAY OF THE CROSS
Artist: Zdenko Grgić
Date: 1970s
Size: 217x286 cm
Material: wood
Technique: relief
Description: Scenes from the seventh, eighth, ninth and tenth Stations of the Cross are combined in a single composition in high relief.
4. WAY OF THE CROSS
Artist: Zdenko Grgić
Date: 1970s
Size: 224x273 cm
Material: wood
Technique: relief
Description: Scenes from the eleventh, twelfth, thirteenth and fourteenth Stations of the Cross are combined in a single composition in high relief.
5. MADONNA AND CHILD
Artist: Frano Kršinić (1897-1982)
Date: 1960s
Size: height 155 cm
Material: marble
Technique: carving
Description: Standing figure of the Madonna with the infant Christ in her hands, held out in front of her. He is giving a blessing with his right hand.
6. SERMON ON THE MOUNT
Artist: Valerije Michieli
Date: 1970s
Size: 140x95x9 cm
Material: bronze
Technique: casting
Description: The central position in the sculpture is occupied by the stylized figure of Christ, with raised left hand and his right on his breast. People listening to his sermon feature to his right and left.
7. SERMON ON THE MOUNT
Artist: Valerije Michieli
Date: 1980
Size: 167x79 cm
Technique: relief, bronze
Description: a large-sized figure of Christ surrounded by numerous people listening to his words features on a bronze relief plaque. All the figures are etiolated.
8. FISHING
Artist: Stane Kregar
Date: 1970s
Size: 103x71 cm
Technique: mosaic
Description: The mosaic is mounted on the south-west wall of the church close to the altar. It is square in shape. The background to the square consists of squarish gilded mosaic pieces. A blue cross is executed in each corner. A circle interwoven with gilded mosaic lines forming a net is inscribed in the centre of the square. The interior of the circle is composed of blue pieces. The circle contains ten or a dozen pink fish, as if caught in a net.
9. CANTICLE TO BROTHER SUN
Artist: Zdenko Grgić
Date: 1970s
Size: 196x196 cm
Technique: mosaic
Description: The composition consists of four interlinked square surfaces with the title scene. The mosaic is predominantly composed of grey, ochre and brown shades. It features two stylized friars facing each other.
10. ST. JOHN CHRYSOSTOM
Artist: Ivan Dulčić (1916)
Date: 1970s
Size: 155x105 cm
Material: plaster and pigment
Technique: mural in al secco technique
Description: The saint, right hand raised, is depicted against a blue background. He is holding the Gospels in his left hand. To his left is a chalice, and to his right a fish. He is wearing a white robe decorated with a design of crosses on the collar and down the centre; the sides of his robe are decorated with a broad red band with blue, green and yellow details.
11. MARIA GORETTI
Artist: Ivan Lovrenčić (1917) and Želimir Janeš (1916-1996)
Date: 1974
Size: 164x89,5 cm
Material: wood, mother-of-pearl, silver, beads
Technique: carving, inlay
Description: The figure of a young, long-haired woman turned slightly to the right is carved in relief on a wooden plaque. She is wearing a mid-calf-length dress, gathered at the waist. Her hair and the pleats of the dress are decorated with inlaid lines in silver. Maria Goretti is holding a kerchief in her left hand, which is by her side, and a tulip-like flower in her right, which is bent at the elbow. The leaves are decorated with mother-of-pearl inlay, and the flower is decorated with inlaid red beads. Silver-mounted birds are depicted at her feet, along with a number of flowers. The background to the central section of the image is filled with three horizontal wavy lines with floral designs. The top right-hand corner is inscribed: IL – ŽJ 74.
12. ST JOHN THE BAPTIST PREACHING (ST JOHN IN THE DESERT)
Artist: Zlatko Keser (1942)
Date: 1980
Size: 198x151 cm
Material: plaster and pigment
Technique: mural in al secco technique
Description: A small-sized figure of Christ in a red robe is depicted in the lower right-hand corner, walking towards the onlooker with arms outspread. He is surrounded by rays. The rest of the composition is stylized, and is predominantly in shades of blue, pink and violet.
13. ST. ANTHONY WITH CHILD
Artist: Zdenko Grgić
Date: 1960s
Size: height 215x67 cm
Material: marble
Technique: carving
Description: Depicts the monumental standing figure of the saint, holding to his chest a small child, whom he is embracing in his arms.
14. THE MISSION OF ST. ANTHONY
Artist: Zdenko Grgić
Date: 1960s
Size: visina 235x242 cm
Technique: mosaic
Description: The mosaic is predominantly white, ochre, grey and brown. The figure of the saint, wearing a Franciscan habit and holding a Bible in his right hand, is depicted in front of a large-sized figure (of Christ) wearing a wide white robe. The fingers of their right hands are intertwined.
15. CROSS
Artist: Šime Vulas (1932)
Date: 1980
Size: 129x77 cm
Material: wood
Technique: carving
16. ST FRANCIS
Artist: Josip Poljan
Date: 1976
Size: 70 cm
Material: bronze
Technique: casting
Description: The slender, elongated figure of the saint is depicted with arms raised.
17. LAST SUPPER
Artist: Đuro Seder (1927)
Date: 1970s
Material: plaster and pigment
Technique: mural in al secco technique
Description: the composition of the Last Supper is painted on the three walls of the apse. The central position is occupied by the standing figure of Christ, with behind him a large yellow sun. To the left and right of Christ are the apostles, seated at the table, each with a round loaf of bread in front of him. A crowd of people are standing around the table, looking on, many of them with their faces turned towards the heavens. The composition is predominantly blue.
The monastery’s picture gallery mainly contains modern works of art. Among the older works are the Christ by Celestine Medović, and a number of works by Gabrijel Jurkić. Other artists whose works feature here include Meštrović, Šimunović, Kljaković, Šohaj, Gliha, Murtić, Lovrenčić, Lah, Reiser, Seder, Poljan, Likar, Čurić, Pivac, Despić, Grgić and Kreger.
1. LANDSCAPE
Artist: Anka Krizmanić (1896-1987)
Date: 1939
Technique: oil on canvas
Size: 59,5x73 cm
Signatura: bottom right A. Krizmanić 1939
Description: Mountain landscape, with a small village at the foot of the mountain.
2. FRA ANTUN KNEŽEVIĆ
Artist: Đuro Seder (1927)
Date: not known
Technique: oil on canvas
Size: 99x71,5 cm
Signatura: bottom right Seder
Description: Portrait of a friar, holding a pen in his right hand, writing in an open book.
3. PORTRAIT OF A GIRL
Artist: Ljubo Lah (1930)
Date: not known
Technique: oil on canvas
Size: 98x63,5 cm
Signatura: bottom right Lah
Description: Half-length portrait of a girl with a parting in her hair.
4. MEETING BETWEEN THE PROVINCIAL AND SOPHIA
Artist: unidentified
Date: not known
Technique: oil on canvas
Size: 108x57 cm
Signatura: none
Description: The painting depicts the Provincial of Bosnia Argentina with a group of friars around him at the entrance to St Anthony’s church in Bistrik. A young woman in a white dress with a blue belt, holding a furled parasol, is standing in front of them.
5. CHRIST WITH CHILDREN
Artist: Ljubo Lah
Date: 1970s
Technique: oil on canvas
Size: 109,5x88,5 cm
Signatura: bottom right Lah
Description: Children, faces upturned, are standing around the central figure of Christ in a white robe.
6. PORTRAIT OF A GIRL
Artist: F. Haberl
Date: 1870 (Rakić, 1988, 33)
Technique: oil on canvas
Size: 49x37 cm
Signatura: on the back F. Haberl, 1780.
Description: Half length figure of a girl with a cap and somewhat rosy cheeks. Her left hand is raised to her chin, and her head slightly bowed. She is wearing a black cloak, with light-coloured fur peeping out at the sleeve ends and where the cloak is fastened.
7. LANDSCAPE
Artist: N. Burić
Date: not known
Technique: oil on paper
Size: 54x60 cm
Signatura: bottom right N. Burić
Description: Hilly landscape, with groups of houses on some of the hillocks.
8. LANDSCAPE
Artist: Edo Murtić (1921. do 2005)
Date: 1980
Technique: tempera on paper
Size: 66x74 cm
Signatura: bottom right Murtić 80
Description: The top half of the painting features a hilly landscape with a number of poplars, while the lower half is painted dark blue.
9. VASE OF FLOWERS
Artist: Ljubo Lah
Date: 1970s
Technique: oil on plywood
Size: 49X64,5 cm
Signatura: bottom right Lah
Description: A number of flowers in a white vase with a handle.
10. BRANCHLETS
Artist: Franjo Likar (1928- )
Date: 1963
Technique: oil on canvas
Size: 67,5x56,5 cm
Signatura: bottom right Likar 63
Description: The painting features a forked tree branch laid beside a wall, on which the shadow of the branch is to be seen.
11. ST. FRANCIS
Artist: Zlatko Keser
Date: 1980
Technique: al secco on plaster base
Size: 171x46,5 cm
Signatura: bottom left Keser 1980.
Description: The stylized figure of St. Francis is depicted against a blue background, hands raised high above his head, as though holding the sun. Two female figures are depicted on either side of the sun.
12. PORTRAIT OF A WOMAN IN A BLUE DRESS
Artist: Mario Mikolić (1924-1991)
Date: 2nd half of the 19th century [sic]
Technique: oil on canvas
Size: 109,5x84,5 cm
Signatura: bottom right M. Mikolić
Description: The painting depicts a middle-aged woman in a blue dress, seated, with her right hand on her knee. She has a bracelet on her right arm, and a transparent red shawl on her other arm.
13. ROSES
Artist: Nikola Reiser (1918-2004)
Date: not known
Technique: oil on jute
Size: 54,5x35,4 cm
Signatura: top right Raizer
Description: A painting of three white roses.
14. FR. JULIJAN JELINIĆ
Artist: Gabriel Jurkić (1886. do 1974)
Date: 1915
Technique: oil on canvas
Size: 68,3x48 cm
Signatura: bottom right Gabriel Jurkić S II/I 1915
Description: Half-length portrait of a friar with his head resting on his right hand.
15. LANDSCAPE
Artist: Gabriel Jurkić
Date: 1942
Technique: oil on cardboard
Size: 31,5x48,5 cm
Signatura: bottom left G. Jurkić S II/I 1942
Description: A hilly landscape with a flock of sheep between two haystacks, and swirling clouds in the top half of the painting.
16. MOUNTAIN
Artist: Frano Šimunović (1908-1995)
Date: late 1970s
Technique: oil on lessonite
Size: 45x65 cm
Signatura: bottom left Šimunović
Description: The principal colours are white, grey and blue-green.
17. IN ST ANTHONY’S CHURCH
Artist: Gabriel Jurkić
Date: 1931
Technique: oil on canvas
Size: 129x98 cm
Signatura: bottom right G. J. 1931
Description: the painting features the interior of St. Anthony’s church in Bistrik with a large congregation at prayer.
18. ST. ANTHONY WITH BIRDS
Artist: Stane Kregar (1905-1973)
Date: not known
Technique: mosaic
Size: 170x107 cm
Signatura: none
Description: The mosaic depicts St. Anthony with arms raised and palms, bearing the stigmata, facing the observer. Four birds in flight feature to his left and right, above and below.
19. FR. MIO ČUIĆ
Artist: unidentified
Date: not known
Technique: oil on canvas
Size: 83x66 cm
Signatura: none
Description: Half-length portrait of a middle-aged Franciscan, holding a pen in his right hand and writing on a sheet of paper, with an inkwell in front of him.
20. CRUCIFIXION
Artist: Gabriel Jurkić
Date: not known
Technique: oil on canvas
Size: 113x71,8 cm
Signatura: bottom left G. J.
Description: The naked body of Christ with the crown of thorns is depicted on a tall wooden cross. Above his head is a plaque with his initials.
21. BUILDING THE CHURCH
Artist: Joza Kljaković (1888-1969)
Date: 1888-1969
Technique: drawing on paper
Size: 56x53 cm
Signatura: bottom right I. Kljaković
Description: Depicts a group of naked men wearing loin cloths, lifting large building components for the church.
22. UNDERGROUND INTERIOR
Artist: Nada Pivac (1926)
Date: 2nd half of the 20th century
Technique: pastel on paper
Size: 48,5x67 cm
Signatura: top left Pivac
Description: The painting is predominantly in shades of blue-green and orange.
23. NATIVITY OF CHRIST
Artist: Slavko Šohaj (1908-2003)
Date: not known
Technique: oil on canvas
Size: 119x134 cm
Signatura: bottom left Šohaj
Description: The central figure is the infant Christ in the crib. Beside him, hands clasped in prayer, are the Blessed Virgin Mary and Joseph. The scene also features animals.
24. STILL LIFE
Artist: Ljubo Lah
Date: 1970s
Technique: oil on cardboard
Size: 48x60,5 cm
Signatura: bottom right Lah
Description: Ewer with a dish full of apples.
25. LANDSCAPE
Artist: Behaudin Selmanović (1915-1972.)
Date: 1963
Technique: oil on canvas
Size: 93x90 cm
Signatura: bottom left Selman
Description: The principal colour is the green of leafy trees and meadows. In the centre is a village with red-roofed houses.
26. ST. FRANCIS
Artist: Gabriel Jurkić
Date: 1926
Technique: oil on canvas
Size: 71x48,5 cm
Signatura: bottom right G. J. 1926.
Description: The half-length figure of the saint is depicted in profile. He is holding a small crucifix in his raised hands, and is looking at the crucified Christ on the cross. He has a halo.
27. LAST SUPPER (sketch for altar painting)
Artist: Đuro Seder
Date: 1970s
Technique: tempera on paper
Size: 35x90,5 cm
Signatura: none
Description: Sketch for altar painting.
28. A POEM ABOUT WATER
Artist: Mirko Čurić (1927- )
Date: 2nd half of the 20th century
Technique: oil on paper
Size: 59x189 cm
Signatura: none
Description: The principal colour is the blue-green of the sea. There are three flowers in the right-hand half of the painting.
29. OUR LADY WITH CHRIST
Artist: Ivan Lovrenčić (1917)
Date: 1982
Technique: Indian ink on paper
Size: 70x50,5 cm
Signatura: bottom centre I.L. 82
Description: The lower third of the painting contains the half-length figure of a worshipper, followed by a row of stylized flowers, and above these the standing figure of Mary wearing a crown and holding the infant Christ in her arms. He is also wearing a crown, and holding a second, smaller one. To the left of them is a mill and to the right a church.
30. SERMON ON THE MOUNT
Artist: Ivan Lovrenčić
Date: 1980
Technique: Indian ink on paper
Size: 69x88,5 cm
Signatura: bottom right I.L. 80
Description: A crowd of followers around the central figure of Christ, looking at him.
31. LANDSCAPE
Artist: Ivo Šaremet
Date: 1900-1991
Technique: oil on canvas
Size: 57,5x79 cm
Signatura: bottom right Ivo Šaremet
Description: A hilly landscape with a house in the middle of the painting.
32. MARIA GORETTI
Artist: Mirko Čurić
Date: 1962
Technique: oil on canvas
Size: 154,4x104 cm
Signatura: bottom left Mirko Čurić 1962
Description: The standing figure of a little girl with long, blond hair, wearing a blue knee-length dress. She is holding a lily in her left hand and a butterfly has landed on her right.
33. ST. NIKOLA TAVELIĆ
Artist: Gabriel Jurkić
Date: unclear – 1938 or 1939
Technique: oil on canvas
Size: 147x97 cm
Signatura: bottom right G.J. 1938/9 (year not clearly legible)
Description: The kneeling figure of a Franciscan, holding a crucifix in his right hand, clasped to his breast, and a scroll in his left. A beam of light is falling on him from the top right-hand corner. There are stećak tombstones in the background.
34. LANDSCAPE
Artist: Ljubo Lah
Date: 1970s
Technique: oil on plywood
Size: 39x22,8 cm
Signatura: bottom left Lah
Description: Two poplars.
35. CHRIST UNDER THE CROSS
Artist: Đuro Seder (1927-)
Date: 2nd half of the 20th century
Technique: oil on canvas
Size: 98,5x128,5 cm
Signatura: bottom right Seder
Description: A scene of Christ falling under the cross.
36. PORTRAIT OF A GIRL AND A LITTLE GIRL
Artist: Ljubo Lah
Date: 2nd half of the 20th century
Technique: oil on plywood
Size: 39x22,8 cm
Signatura: bottom left Lah
Description: The older girl is offering the younger one a book.
37. ANNUNCIATION
Artist: Mirko Čurić
Date: 1960s
Technique: oil on canvas
Size: 79,4x98 cm
Signatura: bottom right Mirko Čurić 1962
Description: Maria is seated on the floor, head bowed, wearing a red skirt and white blouse. There is a white lily beside her. A winged angel with long blond hair, is approaching her.
38. LAST SUPPER
Artist: Slavko Šohaj (1908-)
Date: 2nd half of the 20th century
Technique: oil on canvas
Size: 189x118 cm
Signatura: bottom left Šohaj
Description: Christ is seated at the head of the table, a chalice in front of him. The apostles are to the sides of the table, with two loaves of bread and a pitcher in front of them.
39. ST. FRANCIS
Artist: Đuro Seder (1927-)
Date: 2nd half of the 20th century
Technique: oil on canvas
Size: 99x129 cm
Signatura: bottom right Seder
Description: The saint is depicted kneeling, arms outstretched.
40. MOUNTAIN
Artist: Frano Šimunović
Date: late 1970s
Technique: oil on lessonite
Size: 70,5x50,5 cm
Signatura: bottom left F. Šim.
Description: The principal colours are white, grey, ochre and blue-green.
41. REAPERS
Artist: Gabriel Jurkić
Date: 1916
Technique: oil on canvas
Size: 129,5x179,5 cm
Signatura: bottom left Gabriel Jurkić 1916
Description: a row of six reapers in a field. Two church towers can be made out in the distance.
42. STILL LIFE
Artist: Franjo Likar (1928)
Date: 2nd half of the 20th century
Technique: oil on canvas
Size: 53,5x64,5 cm
Signatura: none
Description: A candlestick, two long-necked flasks, a dish and a smaller flask painted in shades of grey.
43. AHDNAMA
Artist: Đuro Seder (1927-)
Date: 1980
Technique: oil on canvas
Size: 98,5x127 cm
Signatura: bottom right Seder
Description: Fr. Anđeo Zvizdović is standing, head bowed, before Sultan Mehmed II. There are another two men beside the sultan and a guard beside the friar.
44. CRUCIFIXION
Artist: Valerije Michieli
Date: 1970s
Technique: oil on canvas
Size: 152x73,5 cm
Signatura: none
Description: Christ’s crucifixion is depicted in shades of blue.
45. MARIA GORETTI
Artist: Mirko Čurić
Date: 1960s
Technique: oil on canvas
Size: 154x103 cm
Signatura: none
Description: A girl with long blond hair depicted touching a white lily with her right hand.
46. LAST SUPPER
Artist: Đuro Seder (1927-)
Date: 2nd half of the 20th century
Technique: oil on canvas
Size: 99,5x130 cm
Signatura: none
Description: The central figure is Christ, with a fiery halo, surrounded by the apostles seated at the table, on which is a chalice and a loaf of bread.
47. CRUCIFIXION
Artist: Ljubo Lah
Date: 2nd half of the 20th century
Technique: oil on canvas
Size: 130x108,5 cm
Signatura: d.d. u. Lah
Description: The crucified body of Christ. At the bottom of the picture is a young woman, hands clasped in prayer, and a young man of cast-down expression.
48. POČITELJ FRAGMENT II
Artist: Vlado Puljić (1934)
Date: 1969
Technique: oil on canvas
Size: 70x55 cm
Signatura: top right V. Puljić 69
Description: The principal colours are light green, light pink, ochre and white.
49. CRUCIFIXION
Artist: Ljubo Lah
Date: prior to 1977
Technique: oil on canvas
Size: 148x97 cm
Signatura: bottom right Lah, frame of picture, bottom right Donated by Nikola Jović Pavlov, Anto Lamešić Pejin, Anto Lipovac Antin, Ilija Lipovac Antin, Jozo Lipovac Ivanov. Feast of the Assumption 1977
Description: Christ’s crucified body on the cross, with a white loin cloth. Above his head is a plaque with his initials.
50. SS. FRANCIS AND ANTHONY
Artist: Zdenko Grgić (1927-2007)
Date: before 2007
Materijal: wood
Technique: sculpture, carving
Size: 212x80 cm
Signatura: none
Description: Standing figures of the saints in their monks’ habits.
51. ST NIKOLA TAVELIĆ
Artist: Anto Kainić
Date: not known
Technique: oil on lessonite
Size: 119x98,5 cm
Signatura: none
Description: Principal colours light blue, black, white, red, green and ochre.
52. JESUS EXPELLING THE MERCHANTS FROM THE TEMPLE
Artist: Josip Poljan (1925-)
Date: after 1925
Technique: copperplate engraving
Size: 93,5x185 cm
Signatura: none
Description: Scene of Christ expelling the merchants, who are taking their wares with them.
53. UNTITLED
Artist: unidentified
Date: 1973
Technique: graphics
Size: 56,5x80 cm
Signatura: bottom right illegible ... 1973 to dear Vera (?)
Description: The drawing is predominantly black and gold.
54. MADONNA AND CHILD
Artist: Franjo Likar (1928-)
Date: after 1928
Technique: oil on canvas
Size: 57,5x60,5 cm
Signatura: none
Description: The Madonna is seated on a throne the arms of which are decorated on each side with two crowns. She is holding the naked Christ on the right hand side of her lap.
55. HEAD OF A GIRL
Artist: Ljubo Lah
Date: 2nd half of the 20th century
Technique: Indian ink on paper
Size: 83x59 cm
Signatura: bottom left Ljubo Lah
Description: Drawing of a dark-haired girl with a headscarf.
56. ST. NIKOLA TAVELIĆ
Artist: Nikola Čipur
Date: 1940
Technique: oil on canvas
Size: 142,5x72 cm
Signatura: bottom right Čipur Nikola 1940
Description: The saint is standing on a cloud. Beneath him are the contours of the city of Jerusalem. The saint is wearing a habit with four knots in the girdle. He is holding a cross to his breast in his right hand, and is looking up.
57. ST. COLOMANUS THE MARTYR
Artist: unidentified
Date: 1887
Technique: oil on canvas
Size: 103x67,5 cm
Signatura: bottom centre, illegible, ..... K.. 1887, SET COLOMAMUS MARTYRT MXII
Description: The saint is depicted seated beside a river. He is holding a tall cross, the symbol of martyrdom, in his right hand, and an olive branch in his left.
58. LANDSCAPE
Artist: Ljubo Lah
Date: 2nd half of the 20th century
technique: pastel on paper
Size: 47,5x68 cm
Signatura: bottom right Lah
Description: The principal colours are off-white, dark green and violet.
59. PORTRAIT OF A FRANCISCAN
Artist: Gabriel Jurkić
Date: 1958
Technique: oil on canvas
Size: 108,5x58,5 cm
Signatura: bottom right Gabriel Jurkić 1958.
Description: The standing figure of a Franciscan with arms outstretched and face turned heavenwards.
60. FR. JOSIP MARKUŠIĆ
Artist: Ljubo Lah
Date: 2nd half of the 20th century
Technique: oil on canvas
Size: 73x63 cm
Signatura: bottom right Ljubo Lah
Description: Half-length portrait of an elderly, bald Franciscan.
61. PORTRAIT OF A LITTLE GIRL
Artist: Ljubo Lah
Date: 2nd half of the 20th century
Technique: oil on plywood
Size: 53,2x41 cm
Signatura: bottom right Lah
Description: Half-length portrait of a dark-haired little girl with a fringe.
62. MOSQUE
Artist: Đuro Seder (1927-)
Date: 2nd half of the 20th century
Technique: tempera on paper
Size: 48,5x66 cm
Signatura: bottom right Seder
Description: A domed mosque with a minaret.
63. PORTRAIT OF A MAN WITH A PIPE
Artist: unidentified
Date: not known
Technique: oil on plywood
Size: 47x38 cm
Signatura: none
Description: Half-length portrait of a middle-aged man wearing a suit and tie. He has a pipe in his mouth and is wearing dark-framed glasses and a French beret.
64. CRUCIFIXION
Artist: Ivan Lacković Croata (1932. do 2004)
Date: 1977
Technique: graphic
Size: 66x50 cm
Signatura: bottom right Ivan Lacković Croata 77
Description: Depicts Christ crucified on a leafless tree, with a village below it.
65. PORTRAIT OF A FRANCISCAN
Artist: unidentified
Date: not known
Technique: oil on canvas
Size: 84x64,5 cm
Signatura: none
Description: Half-length portrait of a Franciscan with a long dark moustache, wearing a fez.
66. ST. JOSEPH
Artist: unidentified
Date: not known
Technique: oil on canvas
Size: 81x59 cm
Signatura: none
Description: A middle-aged man wearing a brown cloak, holding the naked Christ in his arms. Christ is touching his chin with one hand and holding two red roses in the other.
67. HEAD OF A GIRL
Artist: Ljubo Lah
Date: 2nd half of the 20th century
Technique: felt-tip pen on paper
Size: 39,5x27,5 cm
Signatura: bottom right Ljubo Lah
Description: Drawing of a girl looking down.
68. CRUCIFIXION
Artist: Ljubo Lah
Date: 2nd half of the 20th century
Technique: oil on canvas
Size: 130x90 cm
Signatura: bottom centre Lah
Description: Depicts the naked body of Christ crucified on the cross, with a white loin cloth.
69. WOMAN AND CHILD
Artist: Ljubo Lah
Date: 2nd half of the 20th century
Technique: oil on canvas
Size: 89x108 cm
Signatura: bottom right Lah
Description: Depicts a young woman with a cap, holding an ailing little girl.
70. WAY OF THE CROSS
Artist: Branko Ružić (1919-1997)
Date: 1980 – 1981
Technique: woodcarving
Size: 47x57 cm
Signatura: none
Description: The fourteen usual scenes of the Way of the Cross
The monastery houses the central archives of Bosnia Argentina.The earliest material dates from the 17th and 18th centuries. Documents of earlier dates are housed in the archives of the three older monasteries in Kraljeva Sutjeska, Fojnica and Kreševo, which at that time were the centres of the Franciscans’ operations. Protocols (minutes) are the most important archive documents in the monastery in Bistrik, dating from the mid 18th century to the 1930s.
The central archives of Bosnia Argentina are organized on archive principles, and have been microfilmed and then stored in electronic form on 77 CDs. A total of 122853 items have been scanned(72). The covers of the CDs give the contents of the subject-matter, the number scanned, the number of the CD within the subject-matter, and the number of the microfilm.
Materials from the following subject-matters are kept on CD:
No. of CD. CONTENTS OF CD; No. of CD; No. of SCANNED MATERIALS
- Correspondence from the Holy See to the Provinciate of Bosnia Argentina Sarajevo; 1/1; 1139
- Correspondence of the General Curia to the Provinciate of Bosnia Argentina Sarajevo; 1/2; 3496
- Correspondence of the General Curia to the Provinciate of Bosnia Argentina Sarajevo; 2/2; 3576
- Correspondence of the Vrhbosnian Ordinariate to the Provincialate of Bosnia Argentina Sarajevo; 1/3; 3098
- Correspondence of the Vrhbosnian Ordinariate to the Provincialate of Bosnia Argentina Sarajevo; 2/3; 1697
- Correspondence of the Vrhbosnian Ordinariate to the Provincialate of Bosnia Argentina Sarajevo; 3/3; 1507
- Provincialate 1834. – 1910; 1931. – 1933.; 1/9; 5049
- Provincialate 1910. – 1931; 1919. – 1927.; 2/9; 3913
- Provincialate 1933. – 1935.; 3/9; 2740
- Provincialate 1935. – 1938.; 4/9; 2742
- Provincialate 1935. – 1942.; 5/9; 2723
- Provincialate 1942. – 1961.; 6/9 ; 2755
- Provincialate 1962. – 1971; 1981. – 1990.; 7/9; 4099
- Provincialate 1971. – 1980.;8/9; 1885
- Provincialate 1927. – 1931.;9/9; 2675
- Foreign congregations, indulti and causae; 1/1; 4543
- Commissions, conferences, councils, Franciscan teaching nuns ; 1/3; 3402
- Franciscan teaching nuns, masses for the dead, deceased, travels;2/3;3853
- Travels, civil institutions, festivals, ordinations, undertakings, residence, minutes of Provincial capitulae and definitorial sessions, questionnaires; 3/3;5556
- Land Register entries, reports for schematism, reports, secular Franciscan order, members of the Province leaving the community, candidates for lay brotherhood, questionnaire on state of parishes, reductions, exclaustrations, Economic Committee; 1/2 ; 4934
- BKJ; KVRPI; Pastoral – catechismal commission, secular Franciscan order, Franciscan Theological College, students abroad, Holy See, General Curia; 2/2; 3628
- Correspondence from Franciscan Theological College to the Provincialate of Bosnia Argentina Sarajevo; 1/3; 3441
- Correspondence from Franciscan Theological College to the Provincialate of Bosnia Argentina Sarajevo; 2/3; 3498
- Correspondence from Franciscan Theological College to the Provincialate of Bosnia Argentina Sarajevo; 3/3; 3155
- Correspondence from the Noviciate to the Provincialate of Bosnia Argentina Sarajevo; 1/2; 3504
- Correspondence from the Noviciate to the Provincialate of Bosnia Argentina Sarajevo; 2/2; 3276
- Correspondence from the Franciscan seminary in Visoko to the Provincialate of Bosnia Argentina Sarajevo; 1/3 ; 7372
- Correspondence from the Franciscan seminary in Visoko to the Provincialate of Bosnia Argentina Sarajevo; 2/3 ; 2899
- Correspondence from the Franciscan seminary in Visoko to the Provincialate of Bosnia Argentina Sarajevo; 3/3; 2667
- Monastery of St Anthony – Sarajevo: refurbishment of church and pastoral work; 1/1; 2359
- Correspondence from the Belgrade monastery and monastery parish; correspondence from the Belgrade Ordinariate and correspondence with the Ministry; 1/1; 4468
- Correspondence from the Dubrave monastery and monastery parish to the Provincialate of Bosnia Argentina Sarajevo; 1/1; 1414
- Correspondence from the Đakovica monastery and monastery parish to the Provincialate of Bosnia Argentina Sarajevo; 1/1; 815
- Correspondence from the Fojnica monastery to the Provincialate of Bosnia Argentina Sarajevo; 1/4; 2526
- Correspondence from the Fojnica monastery to the Provincialate of Bosnia Argentina Sarajevo; 2/4; 2667
- Correspondence from the Fojnica monastery to the Provincialate of Bosnia Argentina Sarajevo; 3/4; 3744
- Correspondence from the Fojnica monastery to the Provincialate of Bosnia Argentina Sarajevo; 4/4; 248
- Correspondence from the Gorica - Livno monastery to the Provincialate of Bosnia Argentina Sarajevo; 1/3; 6684
- Correspondence from the Gorica - Livno monastery to the Provincialate of Bosnia Argentina Sarajevo; 2/3; 3304
- Correspondence from the Gorica - Livno monastery to the Provincialate of Bosnia Argentina Sarajevo; 3/3; 465
- Correspondence from the Guča Gora monastery to the Provincialate of Bosnia Argentina Sarajevo; 1/4; 8023
- Correspondence from the Guča Gora monastery to the Provincialate of Bosnia Argentina Sarajevo; 2/4; 3768
- Correspondence from the Guča Gora monastery to the Provincialate of Bosnia Argentina Sarajevo; 3/4; 2876
- Correspondence from the Guča Gora monastery to the Provincialate of Bosnia Argentina Sarajevo; 4/4; 172
- Correspondence from the Jajce monastery to the Provincialate of Bosnia Argentina Sarajevo; 1/3; 5987
- Correspondence from the Jajce monastery to the Provincialate of Bosnia Argentina Sarajevo; 2/3; 1799
- Correspondence from the Jajce monastery to the Provincialate of Bosnia Argentina Sarajevo; 3/3; 68
- Correspondence from the Kraljeva Sutjeska monastery to the Provincialate of Bosnia Argentina Sarajevo; 1/3; 7911
- Correspondence from the Kraljeva Sutjeska monastery to the Provincialate of Bosnia Argentina Sarajevo; 2/3; 1728
- Correspondence from the Kraljeva Sutjeska monastery to the Provincialate of Bosnia Argentina Sarajevo; 3/3; 461
- Correspondence from the Kreševo monastery to the Provincialate of Bosnia Argentina Sarajevo; 1/2; 8263
- Correspondence from the Kreševo monastery to the Provincialate of Bosnia Argentina Sarajevo; 2/2; 64
- Correspondence from the Olovo monastery to the Provincialate of Bosnia Argentina Sarajevo; 1/1; 156
- Correspondence from the Petrićevac monastery to the Provincialate of Bosnia Argentina Sarajevo; 1/4; 2798
- Correspondence from the Petrićevac monastery to the Provincialate of Bosnia Argentina Sarajevo; 2/4; 3332
- Correspondence from the Petrićevac monastery to the Provincialate of Bosnia Argentina Sarajevo; 3/4; 3200
- Correspondence from the Petrićevac monastery to the Provincialate of Bosnia Argentina Sarajevo; 4/4; 253
- Correspondence from the Plehan monastery to the Provincialate of Bosnia Argentina Sarajevo; 1/2; 8283
- Correspondence from the Plehan monastery to the Provincialate of Bosnia Argentina Sarajevo; 2/2; 32
- Correspondence from the Rama – Šćit monasteryto the Provincialate of Bosnia Argentina Sarajevo; 1/2; 4626
- Correspondence from the Rama – Šćit monastery to the Provincialate of Bosnia Argentina Sarajevo; 2/2; 81
- Correspondence from the Tolisa monastery to the Provincialate of Bosnia Argentina Sarajevo; 1/2; 7758
- Correspondence from the Tolisa monastery to the Provincialate of Bosnia Argentina Sarajevo; 2/2; 07
- Correspondence from the Tuzla monastery and monastery parishes to the Provincialate of Bosnia Argentina Sarajevo; 1/1; 1316
- Correspondence from the Kovačići monastery to the Provincialate of Bosnia Argentina Sarajevo; 1/1; 121
- Correspondence from parishes in Croatia and Montenegro to the Provincialate of Bosnia Argentina Sarajevo; 1/1; 202
- Correspondence from the Ordinariate of Banja Luka to the Provincialate of Bosnia Argentina Sarajevo; 1/1; 2410
- Correspondence from other Ordinariates to the Provincialate of Bosnia Argentina Sarajevo; 1/1; 1081
- Correspondence from other Provincialiates to the Provincialate of Bosnia Argentina Sarajevo; 1/1; 1937
- Correspondence from the Đakovo and Pećuh monasteries to the Provincialate of Bosnia Argentina Sarajevo; 1/1; 1087
- Correspondence from Vienna, Peć, Istanbul and the Turkish authorities to the Provincialate of Bosnia Argentina Sarajevo; 1/1; 2000
- Correspondence from the state authorities and Provincial Government to the Provincialate of Bosnia Argentina Sarajevo; 1/1; 4488
- Correspondence, various, to the Provincialate of Bosnia Argentina Sarajevo; 1/3; 3596
- Correspondence, various, to the Provincialate of Bosnia Argentina Sarajevo; 2/3; 898
- Correspondence, various, to the Provincialate of Bosnia Argentina Sarajevo; 3/3; 1386
- Correspondence, various, without individual folders, to the Provincialate of Bosnia Argentina Sarajevo; 1/1; 2747
- Reports and statistics; 1/1; 1703
Total number of scanned materials 122853
3. Legal status to date
The records of the Cantonal Institute for the Protection of the Cultural, Historical and Natural Heritage of Sarajevo list the church and monastery of St. Anthony of Padua in Sarajevo as enjoying the status of“previously protected cultural monument.”
The architectural ensemble of the Franciscan monastery and St. Anthony's church in Sarajevo, together with their movable property, are on the Provisional List of National Monuments of the Commission under the heading «church and monastery of St. Anthony in Bistrik», serial no. 540.
4. Research and conservation and restoration works
The information available concerning works on the properties and on the movable heritage is listed in the sections of this Elucidation entitled Historical information and Description of the property.
Pursuant to the Instructions for a uniform and mandatory methodology in the preparation and development of urban projects and regulations (Official Gazette of B&H, No. 37/38, p.1140), the protection of the cultural-historical heritage and its integration into development prospects form an integral part of executive planning documents. The study for the protection of the cultural-historical, urban-architectural, and environmental values of the “Lijeva Obala Miljacke [Left Bank of the Miljacka River]” complex, which was prepared for the development of the regulatory plan “Lijeva obala Miljacke” drawn up in 1999 by Sarajevo Cantonal Institute for the Protection of the Cultural, Historical and Natural Heritage, values the complex of the church and monastery of St. Anthony of Padua in Sarajevo as a complex of high architectural value and places it in the zone of strictest protection.
Zones of strictest protection, according to this Study, include the ensembles of the street known as Obala Isa-bega Ishakovića (Isa-beg Ishaković embankment), the northern part of Bistrik street, the western part of Franjevačka (Franciscan) street, the Konak (Residence), the western part of Isevića side-street and the other street-scapes marked on the graphic annex of the zoning plan of the Study(73). In these zones, no new building is permitted, and all demolitions or alterations that could alter the relationships of the volumes or even of the colours are prohibited. Protection in this zone is to be enforced in such a way as to extend the lifetime of the most valuable buildings with their appearance unaltered. No permits shall be issued for extensions to any of the buildings. Other than routine maintenance works and repairs to materials and structures, major interventions may be carried out on the basis of detailed programmes drawn up by the heritage protection authority, based on prior surveys and rersearch and a scientific valorization.
The adoption of the urban plan for the City of Sarajevo brought into force the preliminary protection act of the urban-architectural complex of Bistrik (north slope of Trebević), as registered on p.218 of the Official Gazette of Sarajevo No. 4/1990. The said preliminary protection act stipulates that “Bistrik’s prominent position in the city’s landscape makes it an irreplaceable part of the city’s identity.” Prominent in this section is the ensemble extending from the brewery, via St. Anthony’s church and the Franciscan monastery, the Vizier’s Konak (Residence for important visitors), and the Emperor’s Mosque with the Ulema-majlis palace (the present-day Rijaset), to the Barracks (Kasarna) in Bistrik and the Atmejdan Park.
5. Current condition of the property
The buildings forming the architectural ensemble are in good physical condition and kept regularly maintained.
The movable heritage of the church and monastery of St. Anthony in Bistrik is in good condition and housed in suitable conditions. The collection of paintings in the monastery is not open to the public; the paintings are on display within the monastery building, in the rooms and corridors.
The archive material is classified, microfilmed and recorded on CD.
During the 1992-1995 war, the stained glass in the church windows was damaged. The damage is still visible.
III – CONCLUSION
Applying the Criteria for the adoption of a decision on proclaiming an item of property a national monument (Official Gazette of BiH nos. 33/02 and 15/03), the Commission has enacted the Decision cited above.
The Decision was based on the following criteria:
For St. Anthony's church:
A. Time frame
B. Historical value
C. Artistic and aesthetic value
C. i. quality of workmanship
C.ii. quality of materials
C.iii. proportions
C.iv. composition
C. v. value of details
C.vi. value of construction
D. Clarity (documentary, scientific and educational value)
D.iii. work of a major artist or builder
D. iv. evidence of a particular type, style or regional manner
D. v. evidence of a typical way of life at a specific period
E. Symbolic value
E.i. ontological value
E.ii. religious value
E.iii. traditional value
E.iv. relation to rituals or ceremonies
E.v. significance for the identity of a group of people
F. Townscape/ Landscape value
F.i. relation to other elements of the site
F.ii. meaning in the townscape
F.iii. the building or group of buildings is part of a group or site
G. Authenticity (not applicable to the interior of the church)
G.i. form and design
G.ii. material and content
G.iii. use and function
G.iv. traditions and techniques
G.v. location and setting
G.vi. spirit and feeling
G.vii. other internal and external factors
H. Rarity and representativity
H.iii. work of a prominent artist, architect or craftsman
For the Franciscan monastery of St. Anthony in Bistrik:
A. Time frame
B. Historical value
E. Symbolic value
E.i. ontological value
E.ii. religious value
E.iii. traditional value
E.iv. relation to rituals or ceremonies
E.v. significance for the identity of a group of people
F. Townscape/ Landscape value
F.i. relation to other elements of the site
F.ii. meaning in the townscape
F.iii. the building or group of buildings is part of a group or site
G. Authenticity
G.iii. use and function
G.iv. traditions and techniques
G.vi. spirit and feeling
G.vii. other internal and external factors
I. Completeness
I.i. physical coherence
I.ii. homogeneity
The following documents form an integral part of this Decision:
- Copy of cadastral plan no. 6/168, scale 1:1000, c.p.1562, c.m. Sarajevo IX (new survey), title deed no. 526, corresponding to c.p. no. 5, 4 Mahala CXVIII-Sarajevo (old survey); copy of cadastral plan issued on 19 October 2005 by the Department of Property, Geodetics and Cadastral Affairs, Municipality Stari Grad, Sarajevo Canton, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina;
- Copy of land register entry and proof of title;
- Photodocumentation:
o photographs of the current condition of the architectural ensemble of the Franciscan monastery and St. Anthony's church in Sarajevo taken on 20 and 26 September 2005 by ethnologist Slobodanka Nikolić and architect Emir Softić using Canon PowerShot G3 and Canon PowerShot A520 digital cameras
o old photographs
o photograph of the area where St. Anthony's church stands, prior to 1881
o photograph of the monastery and church prior to demolition of the old church on 16-19 March 1912, from Dr Franjo M. Blažević, Crkva sv Ante Padovanskog u Sarajevu (Church of St. Anthony of Padua in Sarajevo) Sarajevo 1917, p. 17
o photograph of the monastery, view from the north-east, prior to the demolition of the old church on 16-19 March 1912, from Archives of the Franciscan monastery in Bistrik
o photograph of the high altar of the old church of St. Anthony prior to demolition of the old church on 16-19 March 1912, from Dr Franjo M. Blažević, Crkva sv Ante Padovanskog u Sarajevu (Church of St. Anthony of Padua in Sarajevo) Sarajevo 1917, p. 23
o photograph of the choir gallery of the old church of St. Anthony prior to demolition of the old church on 16-19 March 1912, from Dr Franjo M. Blažević, Crkva sv Ante Padovanskog u Sarajevu (Church of St. Anthony of Padua in Sarajevo) Sarajevo 1917, p. 44
o photograph of the statue of the fraternity of St. Anthony's church, from Dr Franjo M. Blažević, Crkva sv Ante Padovanskog u Sarajevu (Church of St. Anthony of Padua in Sarajevo) Sarajevo 1917, p. 53
o photograph of the landslip on the monastery plot after making good, c. 1914-1915, from Dr Franjo M. Blažević, Crkva sv Ante Padovanskog u Sarajevu (Church of St. Anthony of Padua in Sarajevo) Sarajevo 1917, p. 65
o photograph of the sanctuary with the high altar of St. Anthony's church, from Dr Franjo M. Blažević, Crkva sv Ante Padovanskog u Sarajevu (Church of St. Anthony of Padua in Sarajevo) Sarajevo 1917, p. 75
- Drawings (photographed using Canon PowerShot G3 and Canon PowerShot A520 digital cameras):
o drawings of the church (from Archives of the Franciscan monastery in Bistrik):
o 3rd blueprint for St. Anthony’s church in Sarajevo, ground floor, Sarajevo, 14/5 1911, Bos-Herz. Building Corp. joint stock co, Josip Vancaš
o 3rd blueprint for St. Anthony’s church in Sarajevo, upper floor, Sarajevo, 14/5 1911, Bos-Herz. Building Corp. joint stock co, Josip Vancaš
o 3rd blueprint for St. Anthony’s church in Sarajevo, axionometric view, Sarajevo, 1911, Bos-Herz. Building Corp. joint stock co, Josip Vancaš
o 2nd blueprint for St. Anthony’s church in Sarajevo, axionometric view from the east, Sarajevo, 23/9 1911, Bos-Herz. Building Corp. joint stock co, Josip Vancaš
o 2nd blueprint for St. Anthony’s church in Sarajevo, ground plan, Sarajevo, 1911, Bos-Herz. Building Corp. joint stock co, Josip Vancaš
o Franciscan church in Sarajevo, gallery of belltower, scale 1:10, Sarajevo 24/3 1913, signed Josip Vancaš
o lateral section of the church, signed Josip Vancaš
o longitudinal section of the church, 30 June 1911, signed Josip Vancaš
o blueprint for Franciscan church of St. Anthony in Sarajevo, ground plan at height of vaults of central nave, scale 1:100, 30/6 1911, Bos-Herz. Building Corp. joint stock co, signed Josip Vancaš
o blueprint for Franciscan church of St. Anthony in Sarajevo, ground plan at height of vaults of side aisles, scale 1:100, 15/1 1912, Bos-Herz. Building Corp. joint stock co.
o blueprint for Franciscan church of St. Anthony in Sarajevo, facing Hendina street, scale 1:100, 1911, Bos-Herz. Building Corp. joint stock co, Josip Vancaš
o drawing of main entrance door and windbreak, 28/10/1913, by Josip Vancaš
o Franciscan church of St. Anthony in Sarajevo, details, scale 1:20, door to choir: in the chapel (a), in the bell tower (b); opening from the oratory into the presbytery (c); windbreak in bell tower (d); door from presbytery to sacristy (e); door in sacristy: from the north (f), from the south (g), 02/01/1914, by Josip Vancaš
o blueprint for the corridor between the monastery and the church. Judging from the handwriting, this design is by Josip Vancaš; the drawing is also signed in black ink by Franzis Holz, but in the top right-hand corner, beside the stamp of the Bos-Herz. Building Corp. joint stock co, Josip Vancaš' signature in pencil can be made out, with the date Sarajevo 6/8 1913
o Franciscan church in Sarajevo, detail of the cross on the bell tower, scale 1:10, by Josip Vancaš
o Franciscan church in Sarajevo, large north window of the bell tower, scale 1:10, Bos-Herz. Building Corp. joint stock co, by Josip Vancaš
o Franciscan church of St. Anthony in Sarajevo, north entrance door: aspect, scale 1:10, profile, scale 1:1; 30/11/1913, by Josip Vancaš
o cross-section of the bell tower of St. Anthony’s church in Sarajevo, scale 1:100, signed Franjo Holz
o drawings of the monastery from the Archives of the Franciscan monastery in Bistrik:
§ blueprint for extension of the 2nd floor front of the Franciscan monastery in Sarajevo, scale 1:100, Sarajevo, 30/7 1912, signed Franjo Holz
§ detail of the projection of the façade, prior to 1912, signed C. Panek
§ lateral section and ground plan of staircase of monastery (wooden staircase), drawing no. 1220, signed C. Panek
§ lateral section and ground plan of the monastery steps (stone steps with steel girders), drawing no. 1234, 9/1 1894, signed C. Panek
§ north façade, east façade, lateral section, roof frame 2nd floor, site drawing of complex, 11 August 1893, signed C. Panek
§ blueprints drawn for the installation of central heating in the monastery building (drawings: basement, ground floor, first floor, second floor), drawings by Centralheizungwerke A.-G. Ingenieur-Bureau Sarajevo, 9 June 1913
§ blueprints of the Franciscan monastery of St. Anthony in Sarajevo: ground plans of ground floor, first floor, second floor, scale 1:100, dating from the 1970s
o Stűlzmauer bei der St. Antons Kirche (solution for underpinning the terrain by means of buttressed retaining walls with details of drainage and outlet channels: lateral and longitudinal sections and ground plan); scale 1:50, by Janesch und Schnell of Sarajevo, July 1914.
Bibliography
During the procedure to designate the architectural ensemble of the Franciscan monastery and church of St. Anthony in Sarajevo, together with its movable property, as a national monument of Bosnia and Herzegovina the following works were consulted:
1917. Dr Franjo M. Blažević, Crkva sv Ante Padovanskog u Sarajevu (Church of St Anthony of Padua in Sarajevo), Sarajevo 1917
1973. Bejtić, Alija, Ulice i trgovi starog Sarajeva, Topografija geneza i toponimija (Streets and squares of old Sarajevo, topography, origins and toponymy), Sarajevo 1973.
1978. Zrinka Vilić, Marko Karamatić, Na izvorima autentičnog stvaralaštva (Umjetnička obnova crkve sv Ante Padovanskog u Sarajevu) (At the sources of authentic creation [Artistic refurbishment of the church of St Anthony of Padua in Sarajevo). Jukić no. 8, Sarajevo, 1978, 129-137
1980. Institute for architecture, town planning and regional planning of the Faculty of Architecture in Sarajevo, Regionial Plan for Bosnia and Herzegovina; Stage «B» - valorization of natural, cultural and historical monuments, Sarajevo, 1980.
1984. Catalogue, various authors: Stari franjevački samostani BiH (Old Franciscan monasteries of BiH) Sarajevo, 1984.
1984. Dr Petar Vrankić, Dr Mato Zovkić, Crkva i samostan sv Ante na Bistriku (Church and monastery of St Anthony in Bistrik), Catholic Church in Sarajevo, Sarajevo 1984, 39-43
1984 Tihić, Smail, Gavran, Ivan, Basler, Đuro, Karamatić Marko, Nikić Andrija, Oršolić, catalogue of the exhibition Stari franjevački samostani Bosne i Hercegovine (Old Franciscan monasteries of BiH), Sarajevo
1987. Krzović, Ibrahim, Arhitektura Bosne i Hercegovine 1878-1918 (Architecture of BiH 1878-1918), Art Gallery of Bosnia and Herzegovina, 1987.
1988. Svetlana Rakić, Slikarstvo i skulptura (Painting and Sculpture) Blago franjevačkih samostana Bosne i Hercegovine (Treasures of the Franciscan monasteries of BiH). Sarajevo 1988, 13-66
1989. Božić, Jela: Arhitekt Josip pl. Vancaš, Značaj i doprinos arhitekturi Sarajeva u periodu austrougarske uprave (Architect Josip Vancaš, significance and contribution to the architecture of Sarajevo in the period of Austro-Hungarian rule (doctoral dissertation), University of Sarajevo, Faculty of Architecture in Sarajevo
1990. Jelenić, Julijan, Kultura i bosanski franjevci I i II (Culture and the Bosnian Franciscans I and II), Phototype of the 1912 edition, Svjetlost, Sarajevo, 1990.
1990. Karamatić, Dr. Marko – Nikić, Dr. Andrija, Blago franjevačkih samostana (Treasures of Franciscan Monasteries) Business News – Tourist Publicity, Zagreb, 1990.
1991. Lovrenović, Ivan, Sedam stoljeća bosanskih franjevaca 1291-1991 (Seven centuries of the Bosnian Franciscans, 1291-1991), Sarajevo, 1991
1991. Marko Karamatić, Franjevačka provincija Bosna Srebrna (Šematizam) (Franciscan Province of Bosnia Argentina [Schematism]), Sarajevo, 1991.
1997. Fr. Ljubo Lucić, Franjevačka prisutnost u Sarajevu, Prilozi historiji Sarajeva (The Franciscan presence in Sarajevo, Contributions to the history of Sarajevo), pp. 239-260 ; papers from seminar Half a Millennium of Sarajevo, held in Sarajevo 19-21 March 1993 [ed. Dževad Juzbašić]), Sarajevo, Institute of History etc, 1997
1999. Seperat zaštite kulturno-historijskih, arhitektonsko-urbanističkih i ambijentalnih vrijednosti urbanističke cjeline “Lijeva obala Miljacke-Bistrik” (Study for the protection of the cultural and historical, architectural and town planning, and environmental values of the urban ensemble “Left bank of the Miljacka Bistrik) for the purposes of the Regulacionog plana “Lijeva obala Miljacke-Bistrik” (Regulatory Plan “Left Bank of the Miljacka Bistrik), Cantonal Institute for the Protection of the Cultural, Historical and Natural Heritage of Sarajevo, 1999.
2002. Karaula, Marijan: Sto sarajevskih ratnih dana, Ljudi i krajevi, Reportaže o nekim župnim zajednicama i značajnim vjerskim slavljima (100 days of war in Sarajevo, People and places, reportage on some parish communities and major religious festivals), Svjetlo riječi, Sarajevo, 2002, 122-127
(1) This street took shape in the early years of Turkish rule in Sarajevo. It runs south from the river Miljacka through the first oriental development of present-day Sarajevo, the Hatib mahala (later known as the Džami-atik mahala or Hungarian mahala, and then as the Emperor’s mahala), and was known as Konak (after the residence of the valis of Bosnia, built in 1869). Its name was changed more than once: on 10 January 1919 it was named Nikola Pašić street, from 1941 to 1945 it was called Vojvoda Slavko Kvaternik street, and after 1948 it was called Nurija Pozderac street. The former side street known as Ploča (running west of the monastery building towards the carpet factory in Bistrik), became part of Konak street after 1878, and somewhat later became a street in its own right by the name of Franjevačka street (Bejtić, Alija: Ulice i trgovi Sarajeva; Topografija, geneza i toponomija, Sarajevo, 1973, 280-281).
(2) This came into being in the Turkish period as part of the Kečedži Sinan mahala, which was also known as Na turbetu. From the 1880s to the time it was named Hulusina, it was known as Nad konakom (”Above the konak”). It was given the name Hulusina before 1893, in memory of Mehmed-efendi Hulusija or Hulusi-pasha (a titulary pasha), a prominent public figure in Sarajevo, city councillor, and senior finance officer in the Austro-Hungarian administration. He was also a journalist, editing and publishing two weeklies in Turkish: Vatan, 1884-1897, and Rehber, 1897-1902. His surname was Aliefendić-Đumrukčić, born in Sarajevo in 1849 and died in 1907. (Bejtić, Alija: Ulice i trgovi Sarajeva; Topografija, geneza i toponomija, Sarajevo, 1973, 182).
(3) This took shape in the early Turkish period as the sokak (side street) between the Halača hajji-Davud Mahala to the left and the Kečedži Sinana to the right (both mahalas were in existence until the late 16th century). It was formerly known as Švrakin sokak (after the erudite Sarajevan lawyer, Emir-čelebija Sejida Muhamed-efendi, known as Švraki, Mufti of Sarajevo from 1764 to 1783. The street acquired the name Hendina before 1882, after the prominent Sarajevo city councillor Ahmed-aga Henda, who had a family house in that street (Bejtić, Alija: Ulice i trgovi Sarajeva; Topografija, geneza i toponomija, Sarajevo, 1973, 175-176).
(4) According to copy of cadastral plan no. 6/168, scale 1:1000, c.p.1562, c.m. Sarajevo IX (new survey), title deed no. 526, corresponding to c.p. no. 5, 4 Mahala CXVIII-Sarajevo (old survey); copy of cadastral plan issued on 19 October 2005 by the Department of Property, Geodetics and Cadastral Affairs, Municipality Stari Grad, Sarajevo Canton, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina.
(5) Quoted from Dr. Blažević, Franjo M.: Crkva sv. Ante Padovanskog, Sarajevo (publ. by the Church Building Committee), 1917, p. 7; the author gives as his source: P. Eusebius Fermendžin: Acta Bosnae pp. 314 (Monumenta spectantia historiam Slavorum meridionalium XXIII) Zagrabiae, 1892
(6) Major changes took place in the Province of Bosnia Argentina in the late 17th century, as an immediate result of the Austro-Turkish war of 1683-1699. During this war, many Catholics (about 100,000, it is believed) moved from present-day Bosnia and Herzegovina to Slavonia and Dalmatia, and with them went many Franciscans whose monasteries had been destroyed or set on fire. The monasteries in Gradovrh (1688), Modriča (1685), Olovo, Rama and Srebrenica (1687), Tuzla (1690) and Visoko (1688) were all closed down, and new ones were set up in the regions beyond the Sava river. Only three remained in Bosnia, Sutjeska, Fojnica i Kreševo, and the number of Franciscans fell to 26 priests and three friars. Under the terms of the 1699 Treaty of Karlowitz the river Sava became the border between Bosnia and Austria, and Mt. Dinar became the border withh Dalmatia. The Franciscan province of Bosnia Argentina then extended over parts of three different states. However, by the late 18th century (1786) the number of Franciscans had risen to 141, and in 1798 the number of Catholics had increased to 83.480. (Karamatić, Marko: Franjevačka provincija Bosna Srebrena, Šematizam, Sarajevo, 1991, p. 9; Jelenić, 1990, Vol. II, p. 687)
(7) “Nelle citta (Saraglio).. sono 200 case di cattolici”. Fermendžin op. cit. p. 476 (from: Dr. Blažević, Franjo M.: Crkva sv. Ante Padovanskog, Sarajevo (publ. by the Church Building Committee), 1917, p. 8, fn no. 7)
(8) quoted from: Dr. Blažević, Franjo M.: Crkva sv. Ante Padovanskog, Sarajevo (publ. by the Church Building Committee), 1917, p. 8
(9) The church was in Simo Milutinović street. (Božić, Jela: Arhitekt Josip pl. Vancaš, Značaj i doprinos arhitekturi Sarajeva u periodu austrougarske uprave, doctoral dissertation, Sarajevo, 1989, p. 157, fn. 50
(10) ”This historic document indicates this to us. In 1736 Bishop fr. Mato Delivić visited the parish of Sarajevo, and held a religious service in the house of one Pavle Andrić. Nine years later we find the same bishop conducting the same canonical visit to the parish of Sarajevo, but this time the religious service was held in the parish house in the Latin suburb of Donja Kamenica.” Dr. Blažević, Franjo M.: Crkva sv. Ante Padovanskog, Sarajevo (publ. by the Church Building Committee), 1917, p. 13 (referring to Serafinski perivoj, 1908, p. 92)
(11) the letter is in Latin, and is housed in the archives of the Kreševo monastery (Dr. Blažević, Franjo M.: Crkva sv. Ante Padovanskog, Sarajevo (publ. by the Church Building Committee), 1917, p. 18 , fn. no. 4
(12) “Consul Atanacković had notifed his government of Vranyczany’s intentions and decision. For ongoing reasons they did not seem proper to the government, however, at least in the sense that Vranyczany had requested and Atanacković presented to the government. In a communication dated 14 July 1851 to Atanacković they forbade Vranyczany to act as builder or founder of a Catholic church, since the matter came within the ambit of the church..” (Dr. Blažević, Franjo M.: 1917, p. 19)
(13) Dr. Blažević, Franjo M.: 1917, p. 23
(14) Fr. Ljubo Lucić, Franjevačka prisutnost u Sarajevu, Prilozi historiji Sarajeva, pp. 239-260; papers from seminar Half a Millennium of Sarajevo, held in Sarajevo 19-21 March 1993 [ed. Dževad Juzbašić]), Sarajevo, Institute of History etc, 1997
(15) There were a number of Catholic schools in Sarajevo at that time: ”Fr Grgo opened a Roman Catholic school in Sarajevo in 1865. The ’general programme school’ was open to all faiths and to both boys and girls. He received funds from benefactors, even including Ahmed Dževdet pasha, or in other words Sultan Abdul Aziz, in the amount of 12,000 groschen. Franjo Žaverija Franjković, who wrote a Short Geography Primer with an appendix on Bosnia for the lower grades, worked in the school. His book was published in Sarajevo in 1869. Fr. Grgo also opened an orphanage in Sarajevo – the Society for Aid to the Indigent, under the patronage of St. Felix. Thanks to Fr. Grgo, sisters of St. Vincent came to Sarajevo on 14 November 1871, and opened a school.” (quoted from Fr. Ljubo Lucić: Franjevačka prisutnost u Sarajevu, 1997, pp. 239-260)
(16) Dr. Blažević, Franjo M.: 1917, p. 32; Fr. Ljubo Lucić: Franjevačka prisutnost u Sarajevu, 1997, pp. 239-260
(17) street and area of the city in Sarajevo, on the left bank of the Miljacka
(18) Dr. Blažević, Franjo M.: 1917, p. 41
(19) state holdings, land belonging to the state (Anić, Vladimir: Rječnik hrvatskog jezika (Croatian Dictionary), Zagreb, 2000, 216)
(20) Sarajevski list, no. 2/1881, 3.1.
(21) Dr. Blažević, Franjo M.: 1917, pp. 44-45
(22) Božić, Jela: Arhitekt Josip pl. Vancaš, Značaj i doprinos arhitekturi Sarajeva u periodu austrougarske uprave, doctoral dissertation, Sarajevo, 1989, 158
(23) Dr. Blažević, Franjo M.: 1917, pp. 46-47
(24) Carl PANEK, architect, born on 11 June 1860 in Mistek. Graduated from Technical College in Vienna, Dept. of Architecture, in 1883. Worked in the Civil Engineering Dept. of the Provincial Government in Bosnia, in the High Construction Section. Taught freehand drawing at the State Technical Secondary School in the school year 1898/1899. Source: Bosnische Bote, Sarajevo 1899 et. seq.(Krzović, Ibrahim, Arhitektura Bosne i Hercegovine 1878-1918, Art Gallery of BiH, 1987, 251)
(25) Dr. Blažević, Franjo M.: 1917, p. 61
(26) Karamatić, Marko: Franjevačka provincija Bosna Srebrena (Šematizam), publ: Franciscan Provincialate, Sarajevo; 1991, 12
(27) Dr. Blažević, Franjo M.: 1917, p. 61
(28) Fr. Ljubo Lucić: Franjevačka prisutnost u Sarajevu, 1997, pp. 239-260
(29) Vilić, Zrinka – Karamatić, Mirko: Na izvorima autentičnog stvaralaštva (Umjetnička obnova crkve Ante Padovanskog u Sarajevu) (On the sources of authentic creation [Artistic renovation of the church of St. Anthony of Padu in Sarajevo), Assembly of the Franciscan College of Theology «Jukić», Sarajevo, 1978, p. 130
(30) The head of the order, Father Dr. Danijel Ban, was elected as president of the Society, with Fr. Ignacije Strukić as vice-president, Ivan Krčmar – a professor in the teacher training college – as secretary, Fr. Nikola Momčinović as treasurer, and Marko Tvrtković and Anto Peršić as auditors. Five citizens of Sarajevo also became members of the Board of the Society (Dr. Blažević, Franjo M.: 1917, pp. 53-55)
(31) Serafinski Perivoj, 1905, pp. 202-203
(32) Dr. Blažević, Franjo M.: 1917, p. 62
(33) the deadline for completion of these works was 31 January 1912.
(34) Franjo Holz, professional civil engineer from Požega. The Franciscans often commissioned him to conduct building works on their monasteries: Kraljeva Sutjeska, Visoko, …
(35) Dr. Blažević, Franjo M.: 1917, p. 63
(36) Dr. Blažević, Franjo M.: 1917, p. 65
(37) «Sincethe cartel had imposed a high price on bricks, and the size of the building required a large quantity of this building material, the works management reflected at length on every aspect before deciding to construct the entire building of stone, with some minor exceptions. The Provincial Government, wishing to make some contribution of its own to this work and enterprise, allowed one of the best quarries in the environs of Sarajevo to be reopened, after having been closed for a long time because of its location alongside the main road,which caused obstructions to the traffic.”
(38) ”The foundation stone was laid, all unknowing – since until that moment the workers had failed to find the one dating from 1881 – very close to the old one, under the present pulpit.”
(39) St. Anthony of Padua’s day is celebrated on 13 June. ”He was born in Lisbon in Portugal in the late 12th century (c. 1195). He was received into the canonical order of St. Augustine, but shortly afterwards, prompted by the martyrdom of the first followers of St. Francis of Assisi, joined the Friars Minor of St. Francis so as to dedicate himself to spreading the Gospel in Africa. His plans to sacrifice himself for Christ were disrupted by illness, and he ended up in Italy. He lived there in complete anonymity for some time, but when the friars realized his gift for preaching they sent him to preach in foreign lands. He preached in France and Italy, where he achieved much, converting numerous heretics. He was the first professor of theology in the Franciscan order, which came into being at that time. He wrote numerous sermons, characterized by erudition, simplicity and beauty. He died in Padua in 1231. Many people pray to St. Anthony for their daily needs. He is without doubt the best known and best loved saint of the Catholic Church, second only to the Blessed Virgin Mary.” (from: http://www.ofmconv.hr)
(40) ”The hold-up in the masonry work on the bell tower was caused, first, by it was only much later, on 14 May, that this work could be freed from the 7 metres deep foundations, second, by its height, and third and last, by the fact that the workforce was factionalized at that time.”
(41) Dr. Blažević, Franjo M.: 1917, p. 66
(42) Božić, Jela: Arhitekt Josip pl. Vancaš, Značaj i doprinos arhitekturi Sarajeva u periodu austrougarske uprave, doctoral dissertation, Sarajevo, 1989, 173
(43) The monastery building completed in 1894 to the 1893 design by Carlo Panek had a second storey only on the south side of the monastery building.
(44) Dr. Blažević, Franjo M.: 1917, p. 67
(45) The high altar was made by the Vienna firm of Jung and Russ (Dr. Blažević, Franjo M.: Crkva sv. Ante Padovanskog, Sarajevo (publ. by the Church Building Committee), 1917, str. 74)
(46) From blueprint entitled Ground plan at the height of the vaults of the side aisles, dated 15/10/1912 (the blueprint is in the Archives of the Franciscan monastery of St. Anthony in Sarajevo)
(47) Judging from the handwriting, this design is by Josip Vancaš; the drawing is also signed in black ink by Francis Holz, but in the top right-hand corner, beside the stamp of the Bos-Herz. Building Corp. joint stock co, Josip Vancaš signature in pencil can be made out, with the date Sarajevo 6/8 1913 (the blueprint is in the Archives of the Franciscan monastery of St. Anthony in Sarajevo)
(48) Dr. Blažević, Franjo M.: 1917, p. 73
(49) A copy of the appeal, ref. No. 232/1915, dated 30 April 1915, is in the Archives of the Franciscan monastery of St. Anthony in Bistrik.
(50) A copy of the document of the Governorship of Sarajevo, no. 10825, dated 14 May 1915, is kept in the archives of the Franciscan monastery in Bistrik. Josip Vancaš’ signature can be seen on the building permit (op. E. Softić).
(51) Karaula, Marijan: Sto sarajevskih ratnih dana, Ljudi i krajevi, Reportaže o nekim župnim zajednicama i značajnim vjerskim slavljima, Svjetlo riječi, Sarajevo, 2002, 123
(52) Karaula, Marijan: 2002, 124
(53) hereafter the reference level is taken to be the ground floor of the church +/- 0,00 m (note E. Softić)
(54) This year is associated with the permit to construct the outer entrance steps of 1915, see section headed Historical information (op. E. Softić).
(55) Bossage (fr.): rustic work consisting of roughly hewn stone seeming to project outwards on account of indentures,with prominent joints (l. opus rusticum)
(56) Most of the designs date from this period, but some are of later date, e.g. the designs of the pews in the church were made by Vancaš in 1918 (op. E. Softić).
(57) Josip pl. VANCAŠ, architect (Šopronj, Hungary, 22 March 1859 – Zagreb, Croatia, 15 December 1932). Graduated from Technical High School, department of architecture in Vienna in 1881, and from 1882 to 1884 studied architecture with Prof. Schmidt at the Academy of Fine Arts in Vienna. Initially worked in the Fellmer and Schmidt studio. Came to Sarajevo for the first time in 1893, and settled there in 1894. From 1890 on he worked as a civil architect. He was very active in Sarajevo, building in historical styles and later in secessionist style. From 1908 he began his quest for the Bosnian style. During his long career as an architect he designed 70 churches and town halls, ten institutes and schools, six cafés and hotels, ten banks, 102 rental and private houses, six factories and seven altars and interiors, ten extensions and conversions, and a total of some 240 blueprints, most of which were carried out. His works were shown at exhibitions in Paris, Vienna and Budapest, for which he received honours. He lived in Sarajevo until 1922. Perceiving the value of the country’s architecture as a whole, and backed by a number of architects and civil engineers, in 1911 he put to the Bosnian Assembly a Resolution on the protection, recording, surveying and preservation of cultural monuments and concessions for building in the Bosnian style. (Krzović, Ibrahim, Arhitektura Bosne i Hercegovine 1878-1918, Art Gallery of BiH, 1987, p.253).
(58) set back into the wall face by approx. 10 cm
(59) Per Copy of cadastral plan no. 6/168, scale 1:1000, c.p.1562, c.m. Sarajevo IX (new survey)
(60) The windbreak was made of oak to Vancaš’ design, with a rectangular ground plan. The windbreak area is entered through double oakwood doors at the west end, which open inwards. Double swing doors measuring 2 x 1.05/2.12 m (woodwork) are set in the same axis as the outer entrance door, in the middle of the longer side of the windbreak, with single swing doors measuring 0.85/2.12 m (woodwork) at each end of the windbreak. These measurements are taken from the blueprint Main entrance door and windbreak, dated 28/10/1913, by Josip Vancaš (op. E. Softić).
(61) This was established beyond doubt during an inspection of the property carried out on 25 September 2006, by entering the attic space of the church. The details on Vancaš’ blueprint Lateral section of church enable one to determine that the thickness of the reinforced concrete shell is approx. 10-12 cm (op. E. Softić).
(62) Horizontal projection of ceiling or vault area as seen by an observer at floor level of the premises (op. E. Softić).
(63) Franciscan church in Sarajevo; Detail of cross on bell tower, scale 1:10, by Josip Vancaš
(64) distance between the top of the arcade niches and the cornice (op. E. Softić)
(65) an architect from Ljubljana
(66) Zrinka Vilić, Marko Karamatić, Na izvorima autentičnog stvaralaštva (Umjetnička obnova crkve sv Ante Padovanskog u Sarajevu). Jukić no. 8, Sarajevo, 1978, 133-134
(67) Božić, Jela: Arhitekt Josip pl. Vancaš, Značaj i doprinos arhitekturi Sarajeva u periodu austrougarske uprave, doctoral dissertation, Sarajevo, 1989, 174
(68) Blažević says that the altar was made in this workshop. (Blažević, 1917, 74)
(69) «Dulčić's creation, as a distinctive artistic achievement, expresses the power of the Creator during the days of creation.» (Vilić, Karamatić, 1976, 134). The scenes of the Creation feature light, water and land, plants and animals.
(70) The stained glass with the cycle of the Redemption features the Annunciation, Nativity, Crucifixion, Resurrection and Ascension (Vilić, Karamatić, 1976, 134)/
(71) In addition to these two subjects, Dulčić had planned a third, the Festival of the World of Man, but these scenes have not been completed as yet (Vilić, Karamatić, 1976, 134)
(72) The documents are fewer in number, because some of the documents consist of more than one page.
(73) Annex Study for the protection of the cultural-historical, urban-architectural, and environmental values of the “Lijeva Obala Miljacke” [Left Bank of the Miljacka River]
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